Fontographer User's Manual Contents Introduction: What a Long, Strange Trip It’s Been Introducing Fontographer How to get the most out of your Fontographer materials Tips icon Before you begin Getting started Read me...
Fontographer User's Manual Creating a ligature Changing the character width Creating a condensed character or font Setting the basepoint Chapter Two: Creating New Fonts Autotracing Tracing an image Advanced tracing options Curve fit Allow curve fit errors Balance lines Eliminate close points Make straight lines Look for cusps Treat nearly flat paths as straight lines Find extrema points Transformation options Flip Move Rotate Scale Scale uniformly Skew Multiple transformations 3-D transformations using t
Fontographer User's Manual Creating a stroked font Outline vs. stroked characters Setting stroke attributes End caps and joins Expand stroke Clean Up Paths Creating calligraphic characters Calligraphic tutelage from Judith Sutcliffe Creating variable weight characters Blend Fonts to create new fonts When things go wrong... Jonathan Hoefler sez...
Fontographer User's Manual Power duplicating Removing points Splitting a path Splitting line segments Joining points Adding Serifs Merging points Moving a point Demagnified move Keyboard commands to move points: Accurate point placement Point and path preferences Path display Point display Show and hide control points Editing and placing BCPs BCP principles Dragging a control point’s BCPs Dragging a curve point’s BCPs Dragging a corner point’s BCPs Dragging a tangent point’s BCPs Retracting BCPs Auto
Fontographer User's Manual Undo and Redo Changing bitmap views Enlarging using the View Menu Switching characters in the Bitmap Window Next and previous character Next and previous point size When should you recalculate bitmaps? Preserving your original bitmaps Chapter Five: Metrics: Spacing and Kerning Spacing Pair kerning Auto Spacing Auto Kerning The Metrics Window Character display The spreadsheet area Importing Metrics Clearing kerning pairs Exporting Metrics The Fontographer Metrics file Copying
Fontographer User's Manual Metrics Assistance Kerning Assistance Advanced Auto Spacing Advanced Auto Kerning Chapter Six: Printing Sample text Sample file PostScript file Key map Kerning pairs Characters The print header Chapter Seven: Generating and Exporting Fonts Before you do anything...
Fontographer User's Manual Windows fonts PostScript Type 1 Other Options Overwrite existing files Output AFM file Output PFM file Output INF file The CFG file TrueType for Windows Symbol Encoded PC fonts PostScript Type 3 NeXT and Sun PostScript fonts Pack your Suitcase: Bitmap fonts Bitmaps vs.
Fontographer User's Manual How Style Merger works Things you should know about Style Merger Adobe Type Reunion (ATR) compatibility Chapter Nine: Installing and Removing Fonts Installing Macintosh PostScript fonts Installing PostScript fonts in System 6 or earlier Installing PostScript fonts in System 7.0.x Installing PostScript fonts in System 7.
Fontographer User's Manual Installing Type 1 fonts in OS/2 Version 2.0 Removing installed fonts Removing a Macintosh font In System 6.0 In System 7.0 In System 7.1 or higher Removing a Windows font PostScript TrueType Removing fonts from the NEXTSTEP operating system Removing fonts from Solaris 2/Open Windows 3 on the SUN Removing fonts from OS/2 2.
Fontographer User's Manual Font hinting Are you still with us? What is hinting all about? Hinting controls Autohint Editing hints in the Outline Window Removing hints Making new hints Selection Info for hints Hint type Apply to The buttons Vertical Alignment Zones Hint Parameters Hints to include Hint order Hint direction Common stems Changing the default What happens when Fontographer opens up PostScript Type 1 fonts What happens when Fontographer opens TrueType fonts Using a resource editor to tweak Fo
Fontographer User's Manual Font Window View by menu Outline Window Tool palette Layers palette Changing and hiding layers Magnification Switching characters Bitmap Window Tool palette Ascent/Descent/Offset/Width From outline Magnification Scrolling Switching characters Changing point sizes Metrics Window The keys to using the Metrics Window are: Kerning and sidebearing lines Key commands to change spacing and/or kerning: Kerning File Menus About Fontographer The File Menu New Font Open Font Close Save
Fontographer User's Manual Preferences Generate Font Files Import Export Print Quit/Exit The Edit Menu Undo Redo Cut Copy Paste Clear Copy Widths Copy Reference Unlink Reference Select All Duplicate Clone The View Menu Preview Show points Magnification Next Character Next Kerning Pair Next Point Next Point Size Previous Character Previous Kerning Pair Previous Point Previous Point Size Snap to Points Snap to guides Table of Contents Page #12
Fontographer User's Manual Snap to Grid The Element Menu Transform Flip Move Rotate Scale Scale uniformly Skew Arrange Font Info Selection Info Bitmap Info Auto Trace Change Weight Clean Up Paths Expand Stroke Recalc Bitmaps Remove Overlap Correct path direction Clockwise Counterclockwise Blend Fonts Multiple Master (Macintosh only) The Points Menu Align Points Align Points to Grid Merge Points Retract BCPs Split Points Auto Curvature Curve Point Table of Contents Page #13
Fontographer User's Manual Corner Point Tangent Point Set Basepoint Reset Basepoint The Metrics Menu Auto Space Auto Kern Kerning Assistance Metrics Assistance Set Metrics Set Width Equalize Sidebearings Clear Kerning Pairs The Window(s) Menu Open Outline Window Open Bitmap Window Open Metrics Window View Windows by Show Layers Palette Show Tool Palette The Window Choices Make Vertical Stem Make Horizontal Stem Make Vertical Serif Make Horizontal Serif Make Diagonal Hint Build Serif Split Serif Flip Hint
Fontographer User's Manual Contents Keys How to Use Help About Fontographer Special keys Keyboard alternatives Appendix A: Tips Appendix B: Answers to commonly asked questions Appendix C: General information Type terminology Fontographer background Bitmap background PostScript background Filling techniques LaserWriter background Appendix D: A Short Bibliography of Typography and Allied Subjects Overviews of Printing Types Type Designs from Various Periods Typography Type Designers Typeface Reference Wor
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Fontographer User's Manual Introduction What a Long, Strange Trip It’s Been Introducing Fontographer How to get the most out of your Fontographer materials Before you begin by David Berlow They say that good things come in small packages. When it comes to Fontographer, this has never been so true. In 1985, I was working at Bitstream designing type on a large proprietary font design system. For those of you who don’t know what this means, I’ll tell you.
Fontographer User's Manual there were not enough points on the character and not enough buttons on the mouse and the screen was smaller than my face—how could this possibly work? Well, within two months I had a Mac Plus and Microsoft Word, so I could “correspond with our clients.” I also purchased my first copy of Fontographer from Altsys. I played around and drew a few characters. It took a while to get the hang of the Bezier tools. At first I thought I had a tiger by the tail.
Fontographer User's Manual By 1989, Fontographer was getting better and better. Things like remove overlap, correct path direction, merge point, the ability to generate Type 1 fonts and more, were all making it a pleasure to design fonts for the first time in my life. The Mac was getting more powerful and there were a lot of graphic designers, droves in fact, moving to the Mac. But they were constrained in their graphic design by the limited availability of fonts on the Mac.
Fontographer User's Manual First of all, thank you for buying our product. Second, thanks for opening this manual. We hope you’re reading it not because you’re having trouble, but because you want to learn more about this exciting program. Our manuals are written by people who actually use (and create) Fontographer and who have graphic arts and typography backgrounds. We’ve tried to be as informative as possible without being stuffy.
Fontographer User's Manual and automatic settings. For advance users who don’t always want to rely on automatic hint settings, we have a menu of hinting controls. And in the Metrics arena, Fontographer lets you space and kern faster and easier than ever. With autospace, autokern, and assisted kerning and metrics you can save yourself from having to kern and space each individual character or font separately.
Fontographer User's Manual Features and Abilities, and Part II: Tips for Previous Fontographer Users. All of the Fontographer manuals assume that you are familiar with the computer and that you have a working knowledge of how your system operates. If you need more information on these topics, refer to your Macintosh or PC owner’s manual. Tips icon We’ve also compiled a truly excellent collection of tips you can use to create your fonts. Tips are also easy to find.
Fontographer User's Manual For the PC version of Fontographer 4.1, you will need a 386 (or better) computer running Windows 3.1, 3.11, NT, or Windows 95 with 5.5 MB hard drive space, VGA video, and at least 6 MB of available RAM. If you want to print PostScript files from your PC, you will also need have an HP driver dated after September 1993, or use Adobe 3.01 PostScript driver. Read me... All Macromedia release and update disks contain a document titled ReadMe (.txt).
Fontographer User's Manual named ‘blah blah’ is using a duplicate of this program...,” this means that more than one copy has inadvertently been personalized with the same serial number. In order to alleviate this problem, simply discard the Fontographer preferences file (located in the Preferences folder in your System folder on the Macintosh, or in the FOG41 directory on the PC), restart Fontographer, and fill out the Fontographer personalization dialog with a different serial number.
Fontographer User's Manual Chapter One Modifying Your Fonts Steps to Modifying Fonts Opening Fonts Changing Character Weight About Font Piracy Creating Oblique Fonts Creating Fractions Creating Ligatures Creating Condensed Characters Imagine an ideal world where you can create completely new fonts without ever drawing a thing.
Fontographer User's Manual Steps to modifying your font 1. Open a font. 2. Modify it; for example, you can simply change the weight. 3. Save the file (Optional). 4. Generate an installable font. 5. Install the font. 6. Put it to work! Opening a font You start Macromedia Fontographer the same way you start other applications—by double-clicking the program icon. In a few seconds, Fontographer’s About box appears.
Fontographer User's Manual Fontographer displays the Font Window. To cancel progress dialogs, type Command-period on the Macintosh, or Esc on the PC. Changing the character’s weight You can quickly create a heavier or lighter version of your character (or the entire font) by using Fontographer’s Change Weight command. To change weight: 1. Go to the Font Window and double-click on the “v” to open it. 2. Choose “Change Weight” from the Element menu. The “Change Weight” dialog appears. 3.
Fontographer User's Manual weight of your character (or entire font) without affecting the vertical or horizontal size of the character. Go back to the “v” and select “Undo Change Weight” from the Edit menu to undo the changes you performed in the last exercise. Repeat the exercise above, but check the “Don’t change vertical size” option before you click “OK.” Look at the difference in the two options. You can try the option with the “Don’t change horizontal size” option next.
Fontographer User's Manual If you want to use a custom style name, be sure to let Fontographer assign a standard style name first and then reassign your custom name. So, if you want to call your bolditalic version of a font “fat slanted,” use the pull-down menu and select “bold italic” first, then change the style name to “fat slanted.” This will allow Fontographer to recognize and assign the proper style to your custom name. Be sure to name your font before you save your database file and generate a font.
Fontographer User's Manual it “MyFatFont” in Font Info. Generating your font After you save the file, it’s time to generate an installable font. You will have to do this if you want to use the font in another application besides Fontographer. Fonts are composed of different files which you will need to install before you can use the font. For more about installing fonts, refer to Chapter 9, “Installing and Removing Fonts.” 1. Choose “Generate Font Files” from the File menu.
Fontographer User's Manual same name), Fontographer will create a new font with the same name followed by a bullet ( ), on the Macintosh, or a dollar sign ($) on the PC. Installing the font Since installing fonts is different depending on the platform and operating system you’re using, we can’t really cover this in a quick “how-to” here. If you need more information about installing fonts, refer to Chapter 9 or your System’s User’s Manual.
Fontographer User's Manual Again, Fontographer allows you to skew one, several, or all characters at once. As in our previous example, we recommend that you try out your modifications on one character before you apply the transformation to the entire font. Follow the steps given in the “Change Weight” exercise to open your font. To skew a character: 1. Go to the Font Window and double-click on the character “k” to open it. 2. Choose “Transform” from the Element menu. 3.
Fontographer User's Manual enter -12 degrees Horizontal (leave Vertical at 0). 3. Then select “Scale” and enter “80” in the Horizontal text box. 4. Select “Basepoint” from the Center Transformations around pop-up menu. 5. Click “Transform.” Fontographer skews and condenses the “k” at the same time. Try some of the other transformation options to see what effects they have on your character.
Fontographer User's Manual Have you ever checked out how many fractions are in your font? If you have, you know that most commercial fonts have a small number of fractions, if any. Historically, if you wanted to type the fraction 3/8, you had to type the 3, the forward slash, and the 8, and even then the fraction didn’t look so hot! Fontographer makes it extremely easy to add composite characters made up of more than one character combined in a single character slot to your font.
Fontographer User's Manual Fontographer pastes the number “8” on top of the “3.” 4. Select everything in the Outline Window by choosing “Select All” from the Edit menu. 5. Go to the Transform menu, select “Scale Uniformly” as your first transformation, enter 60%, and make sure all the other transformation pop-ups say “Do nothing.” Fontographer scales both characters to 60% of their original size. 6.
Fontographer User's Manual slash into your character. You can also draw the divisor line if you prefer. However, it is often much easier to use existing characters to create parts. 9. Select the forward-slash character in the Font Window. 10. Choose “Copy” from the Edit menu. 11. Paste the forward-slash character into the “3” character slot. To change a reference character: 1. Open the Outline Window for the actual character “8.” 2. Modify some part of it.
Fontographer User's Manual A ligature is a character made up of one or more characters. Most commercial fonts have some commonly used ligatures like “,” and “ú.” However, Fontographer makes it easy to create ligatures of your own without drawing a thing. To create a ligature: 1. Open the Outline Window for the “f.” 2. Choose “Select All” and then choose “Duplicate” to create another “f.” 3. Move the new “f” to the right. 4. Go back to the Font Window. 5.
Fontographer User's Manual character. Since you changed the contents of this particular Outline Window, it’s important that you change the width as well. To change the character’s width: 1. Make sure you still have the Outline Window for the “f” open. 2. You can choose “Preview” and turn off Show Points from the View menu to get a better look at the character if you like. 3. Move the width line with the selection pointer.
Fontographer User's Manual You can also create a condensed font by scaling the character 80% horizontally. Condensed versions of a font are the same height as their counterparts, but are narrower to fit into a more compact space. To create a condensed character: 1. Click on the Font Window to make it active, and then press and hold the mouse button while you drag through the characters “a” through “e.” 2. Choose “Transform” from the Element menu. The Transform dialog appears.
Fontographer User's Manual Setting the basepoint The baseline is the line upon which the letters sit. The baseline position is always at a vertical location of zero. The dot at the intersection of the origin line and baseline is the basepoint. The basepoint is used to accurately and quickly align points and characters. The basepoint is generally at the character’s origin (where the origin line and the baseline intersect at 0,0); but, you can position the basepoint anywhere.
Fontographer User's Manual For precise numeric entry, choose “Set Basepoint” from the Points menu. To reset the basepoint back to the origin point, choose “Reset Basepoint” from the Points menu. If you select one point and choose “Set Basepoint,” Fontographer will move the basepoint to that point. However, if you select more than one point, Fontographer will set the basepoint to the center of selection.
Fontographer User's Manual Chapter Two Creating New Fonts Autotracing Transformation Options Guidelines Creating a Stroked Font Clean Up Paths Creating Calligraphic Characters Creating Variable Weight Characters Blending Fonts to Create New Fonts Somewhere in the dark recesses of a second-hand bookstore, there is probably a well-worn and dust-covered book that contains an old-fashioned typeface no one has seen for years. Imagine being able to digitize that typeface and transfer it to your documents.
Fontographer User's Manual Then you can paste your character into the Outline Window (where it will be used like a background template) and let Fontographer autotrace the image. On the PC, take your scanned image to an application like FreeHand or Adobe Streamline where you can either copy from the application and paste into Fontographer and then autotrace, or save/export as an EPS and then import into Fontographer.
Fontographer User's Manual A gray bounding box appears. 3. Move the image into place by positioning the pointer inside the image, then dragging it to a new location. To resize a Template image: 1. Click the template image to select it. 2. Choose “Transform” from the Element menu and “Scale uniformly” 90 percent. Tracing an image Once you have your image sized and positioned the way you want, you can trace it 1. Make sure you are in the Outline layer. 2. Choose “Auto Trace” from the Element menu.
Fontographer User's Manual You have two options: Easy and Advanced. 3. Choose “Easy” and keep the default Curve fit of “5.” The tighter you set a curve fit, the more points will be placed on your character. By having more points, the tracing will more closely resemble the original image. However, too many points will consume unnecessary memory without appreciably improving the accuracy of your path. It is better to use as few points as possible to get the shape you desire.
Fontographer User's Manual few times and see how the other controls respond. It might give you an idea of how each slider affects the fit tightness. If you change any of the other controls in the dialog, the Curve Fit pop-up will automatically switch to “Custom” to indicate that you have customized the values. Once you have customized the settings you can always go back to Loose, Normal, or Tight by changing the Curve Fit pop-up back to one of these settings. You can switch back to Custom as well.
Fontographer User's Manual lines; however, curves that appear to be almost straight to begin with may be slightly modified so that they are perfectly straight. A low setting for this control means almost no curves will be straightened. A high value will cause more curves to be straightened. Look for cusps When Fontographer traces an image it often finds places where two paths join at a sharp angle. A join of this type is called a cusp, and Fontographer will always place a corner point at such a location.
Fontographer User's Manual applied from the Font Window or Outline Window. When used from the Font Window, you can apply a transformation to one, several, or all characters. On the other hand, in a character’s Outline Window, you can only apply the transformation to the selected points. If there are no selected points, the transformation applies to the entire character. Flip You can use the Flip transformation to flip the image to the opposite side of an imaginary horizontal or vertical line.
Fontographer User's Manual Move The Move transformation can move whole characters, or a specific point a specified horizontal and/or vertical amount. To move selected items horizontally: 1. Choose “Move” as the first transformation. 2. Enter a value in the Horizontal text box. 3. Click “Transform” to move the image. To move selected items vertically: 1. Choose “Move” as the first transformation. 2. Enter a value in the Vertical text box. 3. Click “Transform.
Fontographer User's Manual values in both text boxes. Rotate The Rotate option is used to rotate the selection a specified number of degrees. Selected points rotate around the reference point by a specified angle. Positive angles indicate a counterclockwise rotation, while negative angles specify a clockwise rotation. You access the Rotate transformation pop-up via the Transform menu or by double-clicking on the Rotate tool in the tool palette. To rotate a selected item: 1.
Fontographer User's Manual To scale a character vertically: 1. Choose Scale from the pop-up menu. 2. Enter a vertical scaling value. 3. Click “Transform.” To scale a character horizontally: 1. Choose the Scale pop-up menu. 2. Enter a horizontal scaling value. 3. Click “Transform.” Scale uniformly This option scales the entire image uniformly. If you select a character and enter a scale factor of 50%, the image will be reduced to 50% of its original size (both horizontally and vertically).
Fontographer User's Manual 3. Click “Transform.” Skew The Skew option applies a slant to the image. Negative values slant the character to the right, positive values to the left. Vertical skewing can be used to create oblique characters (sort of a “fake” italic). Italics are normally skewed vertically by -12 degrees. You access the Skew transformation pop-up menu via the Transform menu or by double-clicking on the Skew tool in the tool palette. To skew selected characters: 1.
Fontographer User's Manual the entire font. Say you want to create a condensed oblique font and move it closer to the baseline to compensate for the skew angle. It’s easier than you probably think. To apply multiple transformations: 1. Select a character. 2. Choose Transform from the Element menu. 3. Select up to four transformations. 4. Enter the transformation values. 5. Click “Transform.
Fontographer User's Manual down to constrain the tools) that start at the origin point and extend to the descent. 2. Drag the width line on top of the rightmost point on the circle. 3. Choose “Correct Path Direction from the Element menu. The character should look like this with Preview selected from the View menu (or press Command- or Ctrl+L): 4. Choose “Select all” from the Edit menu. 5.
Fontographer User's Manual 2. Set the Distance to 1000 and the Point to Basepoint and press Return or click OK. This tells the Perspective tool that the image you see in the Outline Window is being viewed as if you are 1000 em units away from the Basepoint. 3. Choose “Select All” from the edit menu. 4. Choose “Set Basepoint” from the Points menu. Your basepoint just moved to the center of the square/circle, which is defined as the perspective point in this example. 5. Choose Copy from the Edit menu.
Fontographer User's Manual The character in the Outline Window should now look something like this: To apply 3-D transformations using the Transform dialog: Let’s do an example of a 3-D rotation. To make things simple, you will start where you left off using the Perspective tool. For this example to work, the square/circle being transformed should already be copied into the clipboard. 1. Choose “Paste” from the Edit menu. 2. Choose the Perspective tool from the tool palette. 3.
Fontographer User's Manual 8. Press “Return.” You have probably noticed that a three-dimensional box or cube is being created. The previous set of steps created the right side of cube. The next set of steps will create the top side of cube. 1. Choose “Paste” from the Edit menu. 2. Click down on the ascent line. 3. Double-click on the Perspective tool. 4. Set the XZ angle to 0 and the YZ angle to -90. 5. Press “Return.
Fontographer User's Manual The dialog will come up showing Move and Perspective, ready to do a three-dimensional move. 3. Set both the transformation (at the top of the dialog) and the Perspective transform (at the bottom of the dialog) to Basepoint. 4. Change the Horizontal and Vertical text edit fields to “0” and change the depth edit text field to “800.” 5. Press “Return” or click OK. 6.
Fontographer User's Manual Guides layer just like you would in any other layer. Setting guidelines from the Font Info dialog Ascent and descent are already defined and can be reset by choosing “Font Info” from the Element menu and typing the values in the Ascent and Descent text boxes. Adding new guidelines Additional guidelines can be set two ways in the Guides layer. To create a guideline: 1. Select the Guides layer. 2.
Fontographer User's Manual You can hide the guides by checking on the Guides layer checkbox to turn it off or (when the lock icon is locked) by typing Option-G (Macintosh) or Caps Lock+G (on the PC). Snap to guides Choose “Snap to Guides” from the View menu. When points are within a predetermined distance (you set this value in the File menu Preferences’ Editing Behavior) from the guideline, they snap or align to that guideline. Creating a stroked font Outline vs.
Fontographer User's Manual along the path, it paints a line that is so many units wide. Any character which is constructed entirely of equal weight strokes can be drawn as a stroked character. For example, we drew the letters in this Fontographer logo as stroked characters. You must generate these as Type 3 fonts, since neither TrueType nor Type 1 fonts allow stroked characters. Fontographer gives you complete control over the type of pen you’ll use to create your stroked font.
Fontographer User's Manual You’ll notice that Fontographer has two pop-up menus for Cap and Join. In our example, we use Round on both since we want the ends of the characters to be rounded. Each of these options is discussed after this example. 5. Click “OK” and get ready to draw a character. 6. Choose a drawing tool, or one of the control point tools. 7. Draw an “L.” 8. Turn on Preview to see what your character actually looks like.
Fontographer User's Manual Round joins draw a circle with a diameter equal to the stroke width at each bend. Bevel joins are drawn as if the joining segments were stroked with butt cap ends and the resulting notch filled with a triangle. Expand stroke The Expand Stroke command is used to expand stroked characters into contoured (outline) or filled characters. To expand the stroke width: 1. Choose “Expand Stroke” from the Element menu. 2. Click “Normal pen.” 3. Enter a Pen width value. 4. Click “OK.
Fontographer User's Manual 3. Choose “Selection Info” and change the character to a “Filled” character. 4. Choose “Remove Overlap” from the Element menu. Clean Up Paths One of the most revolutionary features in Fontographer is called Clean Up Paths. This incredible command automatically improves the quality of your outlines by removing unnecessary points.
Fontographer User's Manual We believe you should spend your time creating wonderful designs instead of worrying about point placement and the mechanical details of Bzier path construction. When your character is through, just choose “Clean Up Paths” from the Element menu or (even better!) apply the command to the entire font directly from the Font Window.
Fontographer User's Manual 4. Enter a Pen width of 100 em units. For the purposes of this exercise, you should leave the Pen angle set at 45 degrees since that is one of the recommended angles for calligraphic characters. 5. Click “OK.” The freehand tool icon will change to a calligraphic pen icon. 6. Press and hold down the mouse button while moving it around on your desk or mouse pad, or use a digitizing tablet to draw a calligraphic character. 7. Choose “Remove Overlap” from the Element menu.
Fontographer User's Manual 8. Choose “Preview” from the View menu and turn off “Show Points” to view your character without points and filled. Calligraphic tutelage from Judith Sutcliffe Calligraphy is not the same thing as type. Generally, type is carefully structured, straight-backed and neatly drawn. Calligraphy is often looser, more graphically expressive and flowing, and it more closely reminds us of the instrument with which it was drawn.
Fontographer User's Manual involve a twist of the wrist and pen, and if you carefully study the calligraphy manuals, you will find these little secrets. Also, most letters are made with two or more strokes joined together invisibly. An “O” is made from a downward left stroke and a downward right stroke, not one stroke all the way around. These conventional stroke combinations are shown in most calligraphy manuals and are easy to learn.
Fontographer User's Manual copy it to the background [Template layer] of “c,” “d” and other rounded characters and construct them over the pattern. That will give you a consistency of form that a calligrapher works for years to achieve in eye and hand coordination. The same goes for your “l” and all the ascenders of the lower case alphabet. You must, of course, keep your stroke widths very similar, as it has all been written with the same “pen.
Fontographer User's Manual Now here’s one difference that practicing pen calligraphers will need to curb at the outset. Fontographer characters are usually made in one continuous outline. So make an “O” in one fell swoop, not two separate ones. Pretend you’re writing on really slick paper and your pen doesn’t catch. Go all the way around. If you don’t, you’ll have to patch the two sections together and that’s a drag.
Fontographer User's Manual just the way you want. Let’s say you have now worked out a basic alphabet and it is looking good when you do some proof printing of various letter combinations. But when you print two “l”s together, they look mechanical and wooden. Here’s where the fun begins, and the complications start. Make yourself a nice calligraphic double “l,” with one letter a little taller than the other.
Fontographer User's Manual appear when printed out to be written as a continuous line, but it is not easy. The general principle is that you must design a standard shape for both incoming and outgoing strokes and use them as part of every character. The margins of characters need to be set so that the outgoing stroke of one letter overlaps the incoming stroke of the following character. This takes some careful experimentation with and slight manipulation of each character’s incoming and outgoing strokes.
Fontographer User's Manual 3. Make sure the Calligraphic pen and other options are turned off. 4. Enter a minimum and maximum stroke width (like the ones we’ve set here). Try experimenting with different values, and line caps and joins to get different line effects. 5. Click “OK.” The freehand drawing tool icon changes to reflect the Pressure sensitive setting. If you are using a pressure-sensitive pen, go to step 6; if you are using a mouse, skip to step 8. 6.
Fontographer User's Manual moving it around on your desk or mouse pad to draw a character. 9. Press the right and left arrow keys while you move the mouse button to see the different effects you can create. The left arrow key (or the number “1”) reduces the stroke width (down to the minimum stroke width you specified in the Freehand Tool Setup). The right arrow key (or the number “2”) increases the stroke size (up to the maximum stroke width you specified in the Freehand Tool Setup dialog).
Fontographer User's Manual The Font Blend panel appears. The font you opened in Step #1 automatically appears as the Font 1 Source font. Source fonts are the fonts you will base your third font upon. If you have any other fonts open when you choose Blend Fonts, they will automatically appear in the Font 1 and Font 2 Source fonts pop-up menus. 3. Choose a Source font for the Font 2 position by clicking on its pop-up menu and selecting “Other.
Fontographer User's Manual The two source fonts are now dynamically linked to the new font. If you open any Outline window in the new font, you will see both source outlines in the Template layer (like in this illustration). Any changes you make to the source font’s outline will show in the Template layer, but not change the new blended font’s outline unless you choose “Blend Fonts” again. To change selected destination characters: 1. Make some changes to a character in one of your Source fonts.
Fontographer User's Manual You can continue making minor tweaks to the blended character (or font), or simply save it as a new variation and go on to another variation with a different interpolation percentage. Closing the new font unlinks the source fonts. When things go wrong... Doing the above example using Times and Times-Bold, you most likely encountered an error message after the blend attempt that read, “Could not complete your request because some characters didn’t match during blending.
Fontographer User's Manual remove overlap, causing the character to have one path, but you forgot to do it in font 2, so the still has two paths. The message “different types of paths” occurs when a character such as is a Referenced character in one font, but is an actual outline character in the other. You can correct this by using the “unlink reference” command on the referenced character.
Fontographer User's Manual first six faces), it seemed unlikely that I would ever have the opportunity to revisit the fonts.Until 1993, when Fontographer added the interpolation feature (now called Font Blend).
Fontographer User's Manual Chapter Three Altering Outlines Altering Logos Paths and Points Power Duplicating Adding Serifs Editing and Placing BCPs Auto Curvature In any art or craft there is a line between grace and excess that the artist usually doesn’t want to cross. Fontographer’s Outline Window can help you walk that line with style. Self-expression knows few boundaries with Fontographer.
Fontographer User's Manual If you already know everything about outlines, paths, and points you can skip this chapter. If not... or you’re just curious... read on. Altering a logo This quick-step exercise shows you how to import an image from a drawing program into a character slot in Fontographer so you can access it with a keystroke. You will make some changes to the logo, and then change its width by scaling the image.
Fontographer User's Manual additional information about manipulating points. Pasting EPS outlines from the clipboard On the Macintosh, you can also paste FreeHand and Illustrator images directly into the character edit window (without saving the file as an EPS). While you are in FreeHand or Illustrator, select the graphics you wish to copy, then press the Option or Control key and select “Copy” from the Edit menu. In Fontographer, select a character slot and “Paste” in the image.
Fontographer User's Manual section and go to Types of Points later in this chapter. Closed paths Closed paths can be filled; open paths can’t. PostScript always closes paths and fills images unless you specifically command Fontographer to do otherwise. To turn character fill off, choose Selection Info from the Element menu and click off Fill in the Character Information dialog.
Fontographer User's Manual section later in this chapter for more information about this technique). When you choose “Selection Info,” you will only get the Character Information dialog if no points are selected or more than one is selected. When one point is selected, the Point Information dialog will appear. Normal fill You should use the Normal fill type for PostScript Type 1 and TrueType fonts.
Fontographer User's Manual Even/odd fill The other filling technique is called an even-odd fill. You should use the even/odd fill type for PostScript Type 3 fonts or for modifying the behavior of the Remove Overlap command. An outside path is not filled until it crosses a path. The area that it crosses is filled; the next area the path crosses becomes unfilled, and so on. In the previous illustration of the “O,” even/odd filling would give the desired result even if both paths were clockwise.
Fontographer User's Manual Reverse path direction To reverse path direction, select the path to be reversed and click on the path direction indicator with the mouse (in the lower left corner of the Outline Window), or choose the opposite direction from the Element menu—either clockwise or counter-clockwise. Reversing path direction will alter the fill in your character. Types of points Fontographer uses three different types of points: corner points, curve points, and tangent points.
Fontographer User's Manual Basically, if a series of curve points is connected, the points will display an arc that takes the most graceful and efficient route in maintaining the line through the sequence of points. In mathematical terms, the slope of the curve is continuous through the point. Corner points The corner point tool is used to join straight segments to curved segments or to other straight segments at an angle, or to connect two curve segments at a cusp.
Fontographer User's Manual When you select a tangent point, Fontographer displays the point as a hollow triangle. You can change an existing point to a tangent point by selecting “Tangent Point” from the Points menu.
Fontographer User's Manual To change point types: 1. Select the point with the pointer tool, by clicking on it once. 2. Then choose the point type you’d like to change it to from the Points menu. The point changes to the new point type. The check mark beside the point type in the Points menu indicates the selected point type. or 1. Select the point with the pointer tool by clicking on it. 2. Then choose the new point type from the Points menu or use the menu command.
Fontographer User's Manual 2. Position the pointer on the figure where the new point should be inserted (on top of a line or a curve). If the pointer is positioned some distance away from the line or curve, a new path is started, or if the current path is active (open), it is continued. 3. Click on the figure. The point is inserted into the figure at that position. Duplicating points By choosing “Duplicate” from the Edit menu, you can copy selected points and paths.
Fontographer User's Manual Follow our example below to create a spiral character, and then try some combinations of your own. 1. Create any shape. 2. Choose “Clone” from the Edit menu. 3. Use the rotation tool on the cloned image. 4. Select “Duplicate” from the Edit menu. 5. Repeat step #4 to make as many duplicates as you like. Try this with some of the other transformation tools to see what effects you can create.
Fontographer User's Manual key. Fontographer removes the point and opens up the path. Sometimes, you will want to split a path to create two open paths. However, most of the time you’ll probably want to remove points without breaking the path—this is called merging points. We tell you how to do both in this section. To remove points within a path: Select the points and choose “Clear” from the Edit menu. or Select the points and press the Delete or backspace key.
Fontographer User's Manual 2. Choose “Split Points” from the Points menu. Fontographer splits the selected point into two points. The second point is hidden under the top point. 3. Press the Tab key to deselect any selected points. 4. Choose the selection pointer from the tool palette. 5. Click on the split point and move it.
Fontographer User's Manual typeface. To join points from open paths: Drag an endpoint of one of the paths over an endpoint of the other path. Fontographer joins the paths. In the example below, the curve point changed to a corner point since Fontographer always tries to maintain the original shape of the path. Adding Serifs For those instances where you might want to combine the serifs from a serif typeface with your sans serif typeface: 1.
Fontographer User's Manual Merging points There will be many times when you’ll want to remove excess points from a character. If you use the methods described in the previous sections, you’ll be left with a broken line segment... or an open path. Merging points simply removes the point from the path and connects the point on either side of the deleted point with a single line segment. This is handy for removing unnecessary points.
Fontographer User's Manual To move a point with the mouse: 1. Click on the selection tool, position it on the point to be moved, and click. 2. Without releasing the mouse button, drag the point to the new location. When you use the selection pointer to move a point that is connected to other points, you can see the line segments change as you drag. If the point is connected to other points, the connecting lines or curves are shown during the move, so you can see the effect of the move as it happens.
Fontographer User's Manual Click on the control point to select it, and hold down the Shift key while using the arrow keys to move the point by ten times the specified cursor distance. To move a point by more than one em unit, which is the default preference setting for cursor editing behavior, select “Preferences” from the File menu. Type in the preferred distance in the cursor textbox.
Fontographer User's Manual Pressing “Cancel” will undo everything you did in the Point Information dialog and restore the character to its original state. Choosing “Undo” from the Edit menu will also undo everything you did in the Point Information dialog since selecting it is considered one action. To retract BCPs into their point: 1. Click on the “On point” checkbox for the incoming and/or outgoing BCP in the Point Information dialog. The BCPs will move (or disappear from view) into their point. 2.
Fontographer User's Manual In this case, when you click on a path with the selection pointer, you select the two adjacent points and any segments extending between and on either side of them. or Choose the “Select and edit the path” radio button to move a segment lying between two points (and leave those points in place) when you click on the segment and drag with the mouse. Instead of having to manipulate control handles to regulate the shape of the segment, you can drag the line in any direction.
Fontographer User's Manual get when you edit. For more information on each of the display options, refer tothe section “Point Display” in Chapter 10, “Expert Advice.” Show and hide control points Depending on the type of work you are doing, you may or may not want to view your image with the points showing. The Show Points item in the View menu lets you show or hide control points.
Fontographer User's Manual Fontographer’s curved segments are Bezier curves). Bezier curves define complex shapes with a minimum number of points. All points include one or more BCPs that occasionally seem to hide inside the control point. Most corner points are constructed so that BCPs remain inside the point. Curve points ordinarily work the other way around. You can think of these points as knobs with handles on the ends.
Fontographer User's Manual A curve point and its BCPs lie on the same segment. Each BCP (and its curved segment) is affected by the movement of the other BCP. Dragging one of a curve point’s BCPs in any direction will result in the other BCP moving to maintain the straight line. Dragging a corner point’s BCPs A corner point’s BCPs generally lie on top of that same corner point. To select an incoming or outgoing BCP: 1. Hold down the Option or Alt key before clicking on the control point.
Fontographer User's Manual Retracting BCPs As we discussed earlier, you adjust Bezier control handles by selecting the point they’re attached to, then dragging the handle. You can also retract the control handles. This is useful when you have a corner point with unnecessary BCPs. Auto Curvature Auto Curvature is the option that instructs the curve point tool where to put the BCPs and how far to extend their handles. You can control Auto Curvature from the Points menu.
Fontographer User's Manual When you use the curve point tool to draw a new path, the curve points will default to have Auto Curvature on. To toggle it off, select “Auto Curvature” from the Points menu or move a BCP. When you edit a BCP, Auto Curvature thinks that you don’t like what it did, so it turns itself off. When you insert a curve point on an existing path, Auto Curvature will be automatically off, otherwise it would distort the path. If you want to turn it on, select “Auto Curvature.
Fontographer User's Manual 5. After you move the point, move the BCP with the Shift key to make it vertical (and conform to the template bitmap). This will turn off Auto Curvature. What else can you do with this Auto Curvature? Say you want to make a “Beer Belly” font. Grab the east-most point of the bowl of letter “D” and pull it out and down.
Fontographer User's Manual Choose “Clean Up Paths” from the Element menu, and there you have it: a “D” with a prominent Beer Belly. Auto Curvature is not an exact science. You may want to tweak the BCPs slightly once you get the point in the place where you want it. But it saves you the effort of constantly having to tweak BCPs, only to decide later that you like it elsewhere.
Fontographer User's Manual Chapter Four Editing Bitmaps Using the Bitmap Window Editing Bitmaps Tools in the Bitmap Window Preserving Your Original Bitmaps Okay... okay... okay. You’re probably asking yourself why you even need to read this section since there are two good reasons why you most likely won’t have to worry about bitmaps. The first is Adobe Type Manager (ATM), a program that improves the screen appearance of PostScript Type 1 fonts.
Fontographer User's Manual You can use the Bitmap Window as a tool to improve the look of a font on the screen. It is composed of a series of square dots called pixels which can be turned on or off to produce images. When the dots are turned on they appear black, and when they are turned off they become white. To open a Bitmap Window: 1. Select a character by clicking on it in the Font Window or opening a character’s Outline Window or clicking on a character in the Metrics Window. 2.
Fontographer User's Manual The lock icon in the lower left corner has two functions. When the lock is open (white), you can change to a different character by simply typing the keystroke(s) of the new character. Having the lock icon closed (black), prevents the character from being changed to another character, if you accidentally press a keystroke.
Fontographer User's Manual 4. Click “OK.” Fontographer generates the bitmap files, and the Bitmap Window of the “A” appears. 5. Choose “Next Point Size” from the View menu to view the next larger point size available. 6. Type “Option-G” or “G” (on the PC) to turn off the guidelines, if you find them distracting. 7. Select the bitmap and select the Move tool to move the bitmap. 8. Choose “Next Character.” The character “B” appears. 9.
Fontographer User's Manual the pencil tool to remove or add them. That’s all there is to editing your bitmaps. The majority of the time Fontographer creates perfectly acceptable bitmaps, so you only need this option if you’re a real perfectionist . The central edit area The central edit area is the space where the bitmap image appears. This is where all your bitmap drawing and editing takes place.
Fontographer User's Manual The Bitmap Window in Fontographer 4.1 includes maximum ascender and descender lines. These lines represent the limits for bitmap placement based upon the outlines for all existing characters. You’ll find these guides valuable when you are manually creating bitmaps. The maximum ascender line only appears when a character’s outline extends below the descender line.
Fontographer User's Manual Window. Tools in the Bitmap Window There are eight tools in the Bitmap Window’s tool palette. The straight line tool, directly beneath the close box, allows you to draw straight bitmapped lines by holding down the mouse and dragging. Hold down the Shift key to constrain the line tool to draw horizontal lines, vertical lines, or 45-degree angle lines. When the lock icon is in the locked position, access the straight line tool by typing “1.
Fontographer User's Manual When the lock icon is in the locked position, you can access the pencil tool by typing “3.” The eraser tool removes any pixels it touches. You can also use the pencil tool to erase pixels one-by-one, but using the eraser tool can be more effective for larger areas. Holding the Shift key down while dragging constrains the eraser to a vertical or horizontal straight line. When the lock icon is in the locked position, you can access the eraser tool by typing “4.
Fontographer User's Manual You can use the measuring tool to measure distances between pixels. When you position it and click the mouse and drag to another place, the measured distance in pixels will appear within a rectangular box. The measuring tool is automatically constrained to 45 degree angles, horizontal or vertical straight lines. Hold down the Shift key to move it freely. When the lock icon is in the locked position, you can access the measuring tool by typing “7.
Fontographer User's Manual Undo and Redo There are a few ways to undo and redo changes made to the bitmap. If you want to remove an added point just click on it with the pencil tool or choose “Undo” from the Edit menu. To redo the change choose “Redo.” The default setting for number of Undo’s and Redo’s is eight, but you can change this from the Preferences option in the File menu.
Fontographer User's Manual 1. Select the magnifying tool and click once on the screen on the area you want to enlarge in the window. You can magnify the image to 2, 4, 8, or 16 times the actual size. When you can no longer magnify the image, the tool will display nothing in its center. To reduce the bitmap image with key commands: 1. Press Command-Option-Spacebar or Ctrl+Alt+Spacebar and then click the mouse. The magnifying tool displays with the minus indicator. 2. Continue clicking to reduce the image.
Fontographer User's Manual size available. To change to a previous point size: Choose “Previous Point Size” from the View menu or press Command-- or Ctrl+-. The next available smaller point size will automatically replace the character in the Bitmap Window. To change to the next point size: Choose “Next Point Size” from the View menu, or press Command-= or Ctrl+=. The next available larger point size will automatically replace the character in the Bitmap Window.
Fontographer User's Manual Fontographer presents a standard file dialog that lets you find the bitmap font file containing the bitmaps you want to import into this database. Then, if more than one bitmap is present you will be given a choice of which bitmaps to import. 2. Click on the file and choose the sizes and styles of bitmap.
Fontographer User's Manual Chapter Five Metrics: Spacing and Kerning Spacing Kerning Auto Spacing Auto Kerning The Metrics Window Importing & Exporting Metrics Advanced Metrics Advanced Auto Spacing Advanced Auto Kerning Font metrics is the term used to describe how letters are spaced when they are typed. Do metrics matter? The answer depends on what you want to accomplish with your fonts.
Fontographer User's Manual groups (words on the page) do not “hang” together very tightly, the brain has to work harder to see them in meaningful ways. That’s why it would be pretty hard to read this page if: Itwereprintedlikethisinsteadofwiththecorrectspacing. In this case the brain has a daunting group-making job to do. Think of how you feel when reading the unspaced sentence above. When you read poorly kerned and spaced text, you get a toned-down version of that same sensation.
Fontographer User's Manual effective our auto-spacing is, even in a worst-case scenario! To automatically space a font: 1. Open one of your fonts. 2. Choose “Select All” from the Edit menu. 3. Choose “Set Width” from the Metrics menu. 4. Set as illustrated below: Fontographer will automatically set the spacing of the characters to be a uniform width of 400 em units, producing an awful, monospaced font. 5. Click on any character to deselect all. 6. Choose “Open Metrics Window” from the Windows menu. 7.
Fontographer User's Manual You can adjust the spacing even further from the Metrics Window, or apply Auto Spacing again (with a different value) until you get the “look” you like. Fontographer also has Auto Kerning, which works in the same easy manner as Auto Space. The rest of this chapter covers both Auto Spacing and Auto Kerning in more detail.
Fontographer User's Manual Determining proper widths for each character in a font is a difficult task, because each letter can appear alongside any other letter. You can imagine that a spacing value for “W” which looks good for “Wo” may not look as good for “Wh” so finding the “right” values to use is a matter of looking at lots of examples, and making some trade-offs.
Fontographer User's Manual extra work up front. Pair kerning, or informally, just “kerning,” is a way of overriding a character’s spacing in certain circumstances. To do kerning, you must first have a properly spaced font. So, in this example, you would pick a width for “T” which works best for most cases. Since overlapping characters look pretty ugly and should almost always be avoided, you will pick a width that fixes “Th” and “TT,” and leaves “To” a little loose.
Fontographer User's Manual programs (with kerning). The other drawback to pair kerning is that the more kerning pairs you make for your font, the bigger and slower it becomes. Granted, it won’t make the font tremendously slower or bigger, but it can become noticeable in extreme cases. Most commercial font vendors ship their fonts with between 100 and 4,000 pairs per font.
Fontographer User's Manual The only control you get to modify in the Easy mode is the one which determines how close (or how far apart) the spacing should be. Here’s an example: We opened up the font TFHabitat, and demolished the spacing by setting each letter’s width to 450. As you might expect, it looks kind of lousy; however, this is what you get after having drawn a typeface without setting any spacing.
Fontographer User's Manual in the Advanced mode, which is covered a little later on. We would like to reiterate, however, that the Easy mode is perfectly adequate for probably 90% of our Fontographer customers. Don’t feel obligated to deal with the Advanced mode unless you want to; it usually isn’t necessary.
Fontographer User's Manual in the Metrics Window in an unkerned state. Now we’ll apply Auto Kerning, with a slider value of “60,” which yields this: Fontographer’s Auto Kerning has created a “To,” “Wa,” “Yo,” and “AV” pair. Remember, these are only the characters that are currently displayed in the Metrics Window, there are other kerning pairs. Note that Fontographer did not create an “oW,” “aY,” or “oA” kerning pair.
Fontographer User's Manual Metrics Window. To invoke it, simply choose “Open Metrics Window” from the Windows menu. The contents of the Metrics Window should look something like the one below. You enter text in the box at the top of the window labeled “Text.” You can either type in text directly, or paste in lines of text from some other source. There is a theoretical maximum of 255 characters; however, the practical maximum is probably considerably smaller than that.
Fontographer User's Manual kerning pairs defined for that font. When unchecked, it shows the characters without kerning applied to them. The File button, also at the upper right of the window, is an alternate way to enter text samples into the window. If you press the File button, a standard file dialog box comes up which allows you to choose a standard text file. After you have chosen a file, the Metrics Window will display the first line of that file.
Fontographer User's Manual the first character in the Metrics Window, no kerning guide appears: there is no previous character with which to kern. In order to create a new kerning pair, or to modify an existing pair, simply click anywhere on the line and drag it around until the kern pair looks right. As you drag these indicators around, you can watch their values change interactively in the spreadsheet area. Fontographer’s multiple levels of Undo and Redo are active for each character in the window.
Fontographer User's Manual change the current selection by looking at the Char field in the spreadsheet. If it is black, as in the previous Metrics Window illustration, that means it’s selected and you can change characters in this way. The general rule of thumb is that what you type from the keyboard will replace any black (selected) cell’s contents with that keystroke.
Fontographer User's Manual Alt-click on the character in the character display area, and its corresponding spreadsheet column will adjust itself to be directly underneath that character. One important thing to remember about the spreadsheet area is that you don’t have to use it. Some people are much more visually oriented, and they get dismayed by fields of flashing numbers. That is why we made sure everything is available interactively.
Fontographer User's Manual and Fontographer has no way of knowing where that file might be. Kerning tables are stored in various places: on the Macintosh, the kerning information is stored in the bitmap suitcase; on the PC, it is stored in the PFM file. Kerning and spacing information can be found in other places as well: AFM files, other Fontographer databases (.fog), or in the Fontographer Metrics files (.met) described later in this chapter.
Fontographer User's Manual well as all the kerning pairs and kerning values. These lists can be printed out and compared with one another; you can even edit the lists and re-import the metrics information! Exporting metrics is easy: just choose “Export,” and then “Metrics,” from the File menu. This will cause a standard file dialog box to appear, along with a number of choices for the kind of file to create: an AFM, PFM, or Fontographer Metrics file (.met).
Fontographer User's Manual (&) 748 width . . . A 733 width B 649 width C 679 width D 729 width E 575 width F 536 width G 708 width . . . 252 437 width 253 500 width 254 440 width 255 405 width 256 280 width % Output kerning pairs A C -78 kern A G -99 kern A o -49 kern A v -113 kern A w -141 kern A y -141 kern Characters for which there are no standard letters (like the first 20 characters, or characters over 128) are indicated by their character number.
Fontographer User's Manual units. Copying widths The Copy Widths command in the Edit menu is a quick way to select a bunch of characters in the Font Window, and then copy and paste their widths over a selection of other characters, without altering anything else in those other characters. More powerful spacing and kerning commands Up until now, we’ve been discussing mostly manual ways of adjusting and creating metrics. Fontographer has some really cool automatic ways to do metrics.
Fontographer User's Manual it’s a lot nicer when the columns of numerals line up. In addition, some programs (like Macromedia FreeHand) can vertically align arbitrary text. Equalizing the sidebearings is easy: choose “Equalize Sidebearings” from the Metrics menu. Advanced Metrics operations Fontographer really tries to create a civilized shell for the rather technical problems posed by font metrics. Set Width, the Metrics Window, and the Easy modes of Auto Space and Auto Kerning are examples of that.
Fontographer User's Manual At the top of the dialog box, you choose the characteristic you wish to modify: either the left or right sidebearing, or the width. Next, you choose which characters you wish to apply the changes to. We have found that Selected chars is what we normally choose. So, you can go to the Font Window, select just those characters you want to adjust, and then choose only “Selected chars” in Set Metrics. Finally, you choose what changes to make.
Fontographer User's Manual but don’t want to have to do it all manually—the computer must be good for something, right? What we call “assisted metrics,” other people might refer to as “equivalence classes.” An equivalence class is a rule which dictates what other characters’ attributes should be. These rules can involve sidebearings, widths, and kerning pairs. Equivalence classes are like programming languages for fonts.
Fontographer User's Manual those of the base character. Now you can optionally set up some difference (in value) to be applied to the base character’s attributes. For instance, you could create an equivalence class that means certain characters’ widths will be equal to a base character’s width, plus 10 percent. Next, you specify whether the class should be linked.
Fontographer User's Manual perhaps you want to link the left sidebearing of “B” to “D, E, F, H, I, K, L, M, N, P, R, and U.” Many other characters share a similar right sidebearing. Once you have set up all the equivalence classes imaginable, you probably won’t want to do so again. That’s why there is the big “Save to file” button. Of course, the real power of equivalence classes lies in the fact that once set up, you can change the values of the base characters.
Fontographer User's Manual dialog is accepted. If you set up mutually exclusive classes, which is legal to do but not recommended, the class furthest down in the dialog will be the one which takes precedence. Kerning Assistance Kerning Assistance is a lot like Metrics Assistance and is best explained by example. However, if you haven’t read about Metrics Assistance yet, you are strongly urged to do so before reading about Kerning Assistance. Kerning Assistance is found in the Metrics menu.
Fontographer User's Manual they do in Metrics Assistance. When these boxes are checked, any changes to kern pairs involving the members of that class will cause the other kerning pairs derived from the class to update automatically. Here are some examples: You might want to follow along in Fontographer to get the most out of these explanations. We will begin with two kerning pairs already existing—“To” and “Wa:” When we apply this set of kerning equivalence classes... ...
Fontographer User's Manual Now, however, we will apply this slightly changed set of kerning equivalence classes: The only difference is that the “T” and “W” are no longer linked together. This time, nothing has been changed for “To” or “Wa;” after all, “T” and “W” are not linked. The “a” and the “o” are, however, and so Fontographer has gone ahead and created the “Ta” and “Wo” pairs: Note that this time, the values of “Ta” and “Wo” are not the same. In summary, we began with To = -150, Wa = -100.
Fontographer User's Manual This time, however, the “Ta” got the value of -100 and “Wo” got -150. This is because the “T” and “W” are linked, but the “a” and “o” are not. In summary: we began with To = -150, Wa = -100. We ended with To = Wo = -150, and Ta = Wa = -100. This class says essentially “T-with-anything will always equal W-with-that-same-anything.” Advanced Auto Spacing There is a lot more to Auto Spacing than merely what appears in the Easy mode.
Fontographer User's Manual characters you set by hand. In addition, you might not want Fontographer to consider all the possible combinations of letters in determining optimal spacing. For instance, you might want to bias the spacing to favor the uppercase and lowercase letters.
Fontographer User's Manual the kerning width used to group kerning pairs for spacing. By decreasing this value, fewer kerning pairs are included in the sample set used to determine optimum spacing. Having the value too small will cause only one or two values to be in each group. Having the value too large will cause most or all of the kerning pairs to be in each group. Neither of these will be helpful. Moderation is the key for determining the best value.
Fontographer User's Manual operate one way on some of the character set, and another way for the rest or can also use Auto Kerning in combination with manual kerning. Of course, you can always manually adjust the results of Auto Kerning as well. You can even use Auto Kerning as a diagnostic tool for your font: by running it with different settings and then exporting the kerning and examining it, you can tell where the biggest spacing problems occur.
Fontographer User's Manual The next screen is the How many and how much dialog, and it is just like the Easy mode screen described earlier. The third screen is called Technique, and it looks like this: The technique screen allows you to choose different kerning techniques. Direction to kern is a way of having Fontographer create only kerning pairs which are negative (tighten), only kerning pairs which are positive (spread), or both (spread and tighten, which is the normal option).
Fontographer User's Manual will probably find yourself using the most. This option has Fontographer select the ones which it thinks are most common out of the 2,500 found; then, when it has exhausted that set, it will generate the remaining pairs in order of magnitude. This way, you will get a lot of common pairs, and also the ones which need kerning the most. Kerning speed allows Fontographer to use less memory during Auto Kerning.
Fontographer User's Manual have Fontographer Auto Kern the rest, and be assured that it won’t readjust any of the ones you created. Check Don’t kern numerals with numerals if you don’t want any kerning pairs created for the numerals. While number pairs often could benefit from kerning pairs, that will mess things up if the numbers ever have to appear in vertical columns: the columns of numbers won’t line up perfectly if some of the numbers are involved in kerning pairs.
Fontographer User's Manual to ensure that the most severe cases are covered. In summary, by setting this value very high, you can have Fontographer find only the very largest pairs; conversely, you can set the value lower and have Fontographer find and create many more kerning pairs, involving smaller and smaller amounts.
Fontographer User's Manual Chapter Six Printing Printing Samples Printing PostScript Files Printing Key Maps Printing Lists of Kerning Pairs You have just created a font, or perhaps just a few characters, and now you would like to see those characters in various point sizes and kerning combinations. Maybe you created a large “Do Not Disturb” sign for your office door and want to print it now before you actually go through the font’s installation procedures.
Fontographer User's Manual Before you go to the Print Sample dialog, it is important to decide which printer you want to use. Fontographer will print to both PostScript and non-PostScript printers, but the quality of output will vary. If you are printing to a PostScript printer, Fontographer hints the font before downloading it to the printer. This method will give you the highest quality prints.
Fontographer User's Manual point size. To print selected characters: 1. In the Font Window, select the characters you wish to print. 2. Choose “Print” from the File menu. 3. Choose “Sample text” from the Sample type popup menu. 4. Click the Selected characters radio button in the Print Sample dialog box. 5. Click “Print.” To print specific text samples: 1. Choose “Print” from the File menu. 2. Choose “Sample text” from the Sample type popup menu. 3.
Fontographer User's Manual Sample file Printing a Sample file allows you to print the contents of a text file using the current font at any given point size. To print a Sample file: 1. Choose “Print” from the File menu. 2. Select “Sample file” from the Sample type menu. 3. Enter the desired point size or use the default setting of 36 points. 4. Click “Print.” At this time Fontographer asks you to select the text file that you would like to print.
Fontographer User's Manual Octal, or Hexadecimal locations. The “Print undefined characters” option allows you to print or omit “undefined” characters from your printout. If printed, these characters will be surrounded by a gray box, their Decimal, Octal, or Hexadecimal code, and the word “Undefined.
Fontographer User's Manual 2. Choose “Print” from the File menu. 3. Choose “Characters” from the Sample type pop-up menu. 4. Click the “Full page” radio button. 5. Click “Print.” This is the quickest way to print a single character. To print a text sample in assorted sizes: 1. Select the characters you want to print from the Font Window. Use any letters you want to see printed or open an Outline window for the character you want to print. 2. Choose “Print” from the File menu. 3.
Fontographer User's Manual All printed samples have a similar print header. The gray box that occupies the left corner of the header indicates the print sample type. For instance, if you choose the “Kerning pairs” option, the header will read “Kerning.” If you choose “Selected characters,” the header will read “Selected,” and so on. An individual character such as the letter “S” will only have the character as a header.
Fontographer User's Manual Chapter Seven Generating and Exporting Fonts Easy or Advanced Macintosh Fonts Windows Fonts NeXT & Sun PostScript Fonts Pack Your Suitcase: Bitmap Fonts Exporting Files ISOLatin1 Encoding Vectors You have been happily editing away on your new font. It appears that everything is just the way you want it. Now what? For starters, did you realize that your new font isn’t really a font yet? All you have is a bunch of characters in a database.
Fontographer User's Manual want. Since Fontographer 4.1 allows you to save your font with a name other than the filename, confusion can arise as to what the filename of the font is. The default is for the font to be viewed by the font name specified in the Font Info dialog. For those who keep font names and filenames the same, this method works fine. If, however, you have many versions of the same font name, we recommend that you change the "View by" option to filename.
Fontographer User's Manual dialog. In the Easy Generate Font Files dialog, you have five simple decisions to make. 1. Select the computer for which you are preparing the font. 2. Determine the format (PostScript or TrueType). 3. Choose the bitmap sizes—if any. 4. Set the folder into which you want the font files saved. 5. Decide whether you want to overwrite existing files with the same name.
Fontographer User's Manual PostScript Type 1 fonts—also known as ATM fonts—are the fonts supported by Adobe Type Manager. There are two principle advantages of Type 1 over the older Type 3 font format. When printing to low-resolution laser printers, Type 1 fonts are more legible at small point sizes. Also, ATM will render the Type 1 PostScript fonts on-screen, thus removing the need for bitmaps for every point size.
Fontographer User's Manual original files. If checked, Fontographer will replace older files with the same names as those currently being generated. If unchecked, Fontographer will keep the older files alone, and change the name of the conflicting file by appending a bullet ( ) or dollar sign ($) to the file name. 8. AFM files are not used on the Macintosh. So, if you’re using a Macintosh this option is turned off by default. If we thought there was a good reason to make one, we’d have it turned on.
Fontographer User's Manual font cache and referenced not by font name, but by the PostScript ID and point size. The operating system does not save the image as PostScript, but as a bitmap matched to the output resolution of the printer. When you print the same font a second time at the same point size, the bitmaps print much faster. Font IDs for new fonts are automatically generated in the range of 4,000,000 to 4,999,998. If you are a commercial font developer, you should contact Adobe Systems, Inc.
Fontographer User's Manual You can select the type of hints that will be used to instruct the character, select the amount of dropout control that is to be used when the characters are imaged, and select whether you would like standard or sequential character ordering. Each of these preferences is explained in the sections that follow. Include vertical and horizontal hints This checkbox can override options set in Hint Parameters and Hint Info. Refer to Chapter 10 for more information about hinting.
Fontographer User's Manual Notice that the outline at the right side of the top bar descends below the bar. This type of structure is called a “stub.” The character would conform to the intended outline better if a pixel were turned on in this area. Standard dropout prevention will not find stubs. The third character was drawn with “More” dropout prevention. It obviously has too many pixels turned on.
Fontographer User's Manual Let’s assume you want an ornaments font that uses several tonal variations and filled-and-stroked objects in the same character. No problem with Type 3 fonts; absolutely impossible with Type 1 or with TrueType. The general rule is: for plain text fonts, go Type 1 or TrueType; for decorative or special-use fonts, experiment with Type 3. The rewards of this flexible format may surprise you. To generate Macintosh PostScript Type 3 fonts: 1.
Fontographer User's Manual If unchecked, Fontographer will leave the older files alone, and change the name of the conflicting file by appending a bullet ( ) or dollar sign ($) to the file name. 8. AFM files are not used on the Macintosh. This option is turned off by default. If you think you’ve got a use for the AFM, then output it. 9. Use the Set Folder/Directory button to tell Fontographer where you’d like to place your fonts.
Fontographer User's Manual generating Type 3 fonts. PostScript is stored very inefficiently inside the printer, so compression is necessary to pack as much information into the memory as possible. Fontographer’s compression scheme generates fonts which take up one-fifth the space, on the average, of uncompressed fonts. Nevertheless, a Type 3 compressed font is still larger than a Type 1 font. None This option is provided to disable outline font generation.
Fontographer User's Manual by people who design non-Roman fonts. Original encoding is like an elephant; it never forgets the encoding of the font at the time it was first opened in Fontographer. This is a very handy way to get back to where you began—wherever that was. This can be useful when opening fonts with strange encodings such as Sonata, Carta, or Zapf Dingbats. Adobe Standard encoding (ASE) is Adobe’s default encoding.
Fontographer User's Manual character names and Unicodes. If you need more information about encoding vectors, see the end of this chapter. When should you use Hints? Hints are information placed into a character’s outline definition that adjusts it in a way that improves the character’s perceived shape when it is drawn on the screen or on the printer. For the thorny technical details of hinting, turn to Chapter 10. Hints almost always enhance the look of your font.
Fontographer User's Manual Thus, for a serif Flex, the middle point should be at Y = 0 and the end points should be at or above Y = -6. A special note to designers of non-Roman Macintosh fonts! With the advent of Apple’s System 7.1 with WorldScript, fonts can be assigned to a particular script system. This assignment is achieved by using a range of font ID numbers from 16384 through 32767.
Fontographer User's Manual PostScript Type 1 Five encoding vectors are accepted in Windows: Custom, Windows 3.1, Windows 95, Adobe Standard, and Adobe Expert. In the Advanced dialog, you also get to choose which files should be output, whether or not the use of “Flex” is appropriate, and if hints should be included in the font. Windows Type 1 PostScript fonts—also called ATM fonts—are intended for use in Windows with Adobe Type Manager (ATM) 2.x (or higher).
Fontographer User's Manual 7. Do not generate a bitmap font. They are not useful for Windows. If you will be using your font in DOS, check the requirements of the host application to see if BDF or FON files will be helpful. 8. Point Fontographer to the destination folder, via the Set Folder/Directory button. 9. When all the options have been selected, press “Generate” to close the dialog and create your font files.
Fontographer User's Manual of a CFG file, we decided to show you how to make one, rather than generate a dummy file every time you generate fonts. If you were to create a CFG file for the Nova family, it would look like the following example. [We have included comments to help explain things.] If you must install fonts into WordPerfect DOS and the like, then use this as a model for writing your CFG. All lines preceded by “#” are comments and do not need to be in the actual file.
Fontographer User's Manual # Give the name -label- of the floppy PKGNAME novafam TrueType for Windows To use Windows TrueType fonts, you must have Microsoft Windows 3.1 or later. When generating TrueType for Windows, Fontographer makes use of a dialog which allows you to determine the level of hinting, dropout, encoding and character mapping options. Activate this dialog by pressing the TrueType Options button. (Choices in this dialog may override the selection made in the Encoding pop-up menu.) 1.
Fontographer User's Manual 5. Press “OK” to close the TrueType Options dialog. 6. Windows users may generate a bitmap font (.fon) for use with Windows TrueType fonts, or for use when printing to a non-postscript printer, such as dot matrix. 7. Check the “Overwrite existing files” option. When this option is not checked, any filename created which conflicts with an existing filename in the same folder will have a bullet ( ) or dollar sign ($) appended to its name. 8.
Fontographer User's Manual characters mapped to decimal 0-31, they won’t be output to the PC with Symbol encoding, nor will anything in Dec 127 (delete) or Dec 160 (non-breaking space). When Symbol encoding is selected, sequential character ordering should also be used. All other TrueType preferences do apply. Important: Be sure to select “Decorative” from the PC Family pop-up in the Advanced Generate Font Files dialog for your Symbol encoding to work. PostScript Type 3 This option has become a relic.
Fontographer User's Manual font generation routine for UNIX fonts. This will ensure that the encoding is optimum and that the AFM file is generated. If you generated fonts in the Advanced mode, but failed to generate the AFM file, then do not proceed—go back to the Generate Font Files dialog and generate the AFM file. You won’t get anywhere installing the font without it. For more about hints, flex, and other options, see the articles earlier in this chapter and in Chapter 10.
Fontographer User's Manual relationship will enable better use of fonts in general. Fontographer 4.1 generates three varieties of bitmap fonts: one specifically for use as a screen image on the Macintosh, the .bmap (called “NFNT” in the bitmap selection box), one used as a screen image in Windows, the .fon—and one intended for distribution to other platforms (which may require further customization)—the BDF. The bitmap sizes entered in the Bitmap Information dialog are stored in your database.
Fontographer User's Manual outline font (like adjusting a BCP, which does not always affect the bitmap), it is not necessary to regenerate the bitmaps. Also, when you have no need of a bitmap, there is no reason to take the time to generate one. You can also avoid the bitmap generation process by having no sizes in the Bitmap sizes to output field. NFNT This information is specific to the Macintosh.
Fontographer User's Manual FON This option gives you FON file generation for use in Windows. FONs allow you to have hand-tuned bitmaps which you can use as screen fonts in Windows. Fontographer 4.1 generates FONs at the standard Windows VGA resolution of 96 dpi. In order for the bitmaps from Fontographer on the Macintosh to match up to the higher resolution bitmaps in Windows, you must apply a 4/3 factor to the source bitmap.
Fontographer User's Manual number all your fonts uniquely so the conflict won’t occur. Again, we recommend you start with font family ID 1024 and count up; this is the best compromise we can suggest for now. The menu name The menu name is the name which will be used in the font menu on the Macintosh. This field becomes the FOND resource name so we don’t recommend making the name radically different.
Fontographer User's Manual 20 15 FROM the PC... TO the Macintosh Create a point NFNT to get a point NFNT 4 5 5 7 6 8 7 9 8 11 9 12 10 13 11 15 12 16 13 17 14 19 15 20 Exporting files Fontographer is equipped with an Export menu item. From within its submenu you may export EPS files or metrics files. From the Macintosh you can also export PICT files, while Windows users have the option of exporting encoding.
Fontographer User's Manual this file format directly for editing purposes. And once you open your EPS file, you can add or delete points, reshape, distort or fill characters with a specific color or pattern, or change the stroke weight. To export an EPS file: 1. Select the “EPS” format from the Export pop-up in the File menu. 2. Select the point size necessary for your intended use. 3. Choose an “Output” option. All characters will export all the characters in your font.
Fontographer User's Manual To export a PICT file: 1. Select the “PICT” Format. 2. Select the point size necessary for your intended use. 3. Determine the “Output” option. “All characters” will export all the characters in your font. “Selected characters” will export only the characters currently selected in the Font Window; or from the Outline Window, the active character. Choosing “Sample text” will bring up a text entry box for you to type the text string you would like to export. 4.
Fontographer User's Manual ISO Latin1 Encoding vectors Char name Dec # notdef 0-31 space 32 exclam 33 quotedbl 34 numbersig n 35 dollar 36 percent 37 ampersan d 38 quoteright 39 parenleft 40 parenright 41 asterisk 42 plus 43 comma 44 minus 45 period 46 7: Generating and Exporting Fonts Page #29
Fontographer User's Manual period 46 slash 47 zero-nine 48-57 colon 58 semicolon 59 less 60 equal 61 greater 62 question 63 at 64 A-Z 65-90 bracketlef t 91 backslash 92 bracketrig ht 93 asciicircu m 94 underscor e 95 quoteleft 96 a-z 7: Generating and Exporting Fonts 97-122 Page #30
Fontographer User's Manual a-z 97-122 braceleft 123 bar 124 braceright 125 asciitilde 126 .notdef 127-143 dotlessi 144 grave 145 acute 146 circumflex 147 tilde 148 macron 149 breve 150 dotaccent 151 dieresis 152 .
Fontographer User's Manual cedilla 155 .
Fontographer User's Manual hyphen 173 registered 174 macron 175 degree 176 plusminus 177 twosuperi or 178 threesuper ior 179 acute 180 mu 181 paragraph 182 periodcent ered 183 cedilla 184 onesuperi or 185 ordmascul ine 186 guillemotri ght 187 onequarte r 188 onehalf 189 7: Generating and Exporting Fonts Page #33
Fontographer User's Manual threequart ers 190 questiondo wn 191 Agrave 192 Aacute 193 Acircumfl ex 194 Atilde 195 Adieresis 196 Aring 197 AE 198 Ccedilla 199 Egrave 200 Eacute 201 Ecircumfl ex 202 Edieresis 203 Igrave 204 Iacute 205 Icircumfle x 206 7: Generating and Exporting Fonts 207 Page #34
Fontographer User's Manual Idieresis 207 Eth 208 Ntilde 209 Ograve 210 Oacute 211 Ocircumfl ex 212 Otilde 213 Odieresis 214 multiply 215 Oslash 216 Ugrave 217 Uacute 218 Ucircumfl ex 219 Udieresis 220 Yacute 221 Thorn 222 germandbl s 223 agrave 224 7: Generating and Exporting Fonts Page #35
Fontographer User's Manual agrave 224 aacute 225 acircumfle x 226 atilde 227 adieresis 228 aring 229 ae 230 ccedilla 231 egrave 232 eacute 233 ecircumfle x 234 edieresis 235 igrave 236 iacute 237 icircumfle x 238 idieresis 239 eth 240 ntilde 241 7: Generating and Exporting Fonts Page #36
Fontographer User's Manual ntilde 241 ograve 242 oacute 243 ocircumfle x 244 otilde 245 odieresis 246 divide 247 oslash 248 ugrave 249 uacute 250 ucircumfle x 251 udieresis 252 yacute 253 thorn 254 ydieresis 255 Unencoded Characters Char name Dec # Lslash 256 7: Generating and Exporting Fonts Page #37
Fontographer User's Manual Lslash 256 lslash 257 Scaron 258 scaron 259 Zcaron 260 zcaron 261 quotesingl e 262 dagger 263 bullet 264 trademark 265 florin 266 ellipsis 267 OE 268 oe 269 endash 270 emdash 271 quotedblle ft 272 quotedblri 273 7: Generating and Exporting Fonts Page #38
Fontographer User's Manual quotedblri ght 273 Ydieresis 274 slash 275 guilsingllef t 276 guilsinglrig ht 277 fi 278 fl 279 daggerdbl 280 quotesingl base 281 quotedblb ase 282 perthousa nd 283 Macintosh Encoding vector Char name Dec # NUL [do not use] 0 Eth 1 eth 2 Lslash 3 7: Generating and Exporting Fonts Page #39
Fontographer User's Manual Lslash 3 lslash 4 Scaron 5 scaron 6 Yacute 7 yacute 8 HT [do not use] 9 LF [do not use] 10 Thorn 11 thorn 12 CR [do not use] 13 Zcaron 14 zcaron 15 DLE 16 DC1 17 DC2 18 DC3 19 DC4 20 7: Generating and Exporting Fonts Page #40
Fontographer User's Manual DC4 20 onehalf 21 onequarte r 22 onesuperi or 23 threequart ers 24 threesuper ior 25 twosuperi or 26 brokenbar 27 minus 28 multiply 29 RS 30 US 31 space 32 exclam 33 quotedbl 34 numbersig n 35 dollar 36 7: Generating and Exporting Fonts 37 Page #41
Fontographer User's Manual percent 37 ampersan d 38 quotesingl e 39 parenleft 40 parenright 41 asterisk 42 plus 43 comma 44 hyphen 45 period 46 slash 47 zero-nine 48-57 colon 58 semicolon 59 less 60 equal 61 greater 62 question 63 7: Generating and Exporting Fonts Page #42
Fontographer User's Manual question 63 at 64 A-Z 65-90 bracketlef t 91 backslash 92 bracketrig ht 93 asciicircu m 94 underscor e 95 grave 96 a-z 97-122 braceleft 123 bar 124 braceright 125 asciitilde 126 DEL [do not use] 127 Adieresis 128 Aring 129 7: Generating and Exporting Fonts Page #43
Fontographer User's Manual Aring 129 Ccedilla 130 Eacute 131 Ntilde 132 Odieresis 133 Udieresis 134 aacute 135 agrave 136 acircumfle x 137 adieresis 138 atilde 139 aring 140 ccedilla 141 eacute 142 egrave 143 ecircumfle x 144 edieresis 145 iacute 146 7: Generating and Exporting Fonts Page #44
Fontographer User's Manual iacute 146 igrave 147 icircumfle x 148 idieresis 149 ntilde 150 oacute 151 ograve 152 ocircumfle x 153 odieresis 154 otilde 155 uacute 156 ugrave 157 ucircumfle x 158 udieresis 159 dagger 160 degree 161 cent 162 sterling 163 7: Generating and Exporting Fonts Page #45
Fontographer User's Manual sterling 163 section 164 bullet 165 paragraph 166 germandbl s 167 registered 168 copyright 169 trademark 170 acute 171 dieresis 172 notequal 173 AE 174 Oslash 175 infinity 176 plusminus 177 lessequal 178 greatereq ual 179 yen 180 7: Generating and Exporting Fonts Page #46
Fontographer User's Manual yen 180 mu 181 partialdiff 182 summatio n 183 product 184 pi 185 integral 186 ordfeminin e 187 ordmascul ine 188 Omega 189 ae 190 oslash 191 questiondo wn 192 exclamdo wn 193 logicalnot 194 radical 195 florin 196 7: Generating and Exporting Fonts 197 Page #47
Fontographer User's Manual approxequ al 197 Delta 198 guillemotle ft 199 guillemotri ght 200 ellipsis 201 nbspace 202 Agrave 203 Atilde 204 Otilde 205 OE 206 oe 207 endash 208 emdash 209 quotedblle ft 210 quotedblri ght 211 quoteleft 212 quoteright 213 7: Generating and Exporting Fonts 214 Page #48
Fontographer User's Manual divide 214 lozenge 215 ydieresis 216 Ydieresis 217 fraction 218 currency 219 guilsingllef t 220 guilsinglrig ht 221 fi 222 fl 223 daggerdbl 224 periodcent ered 225 quotesingl base 226 quotedblb ase 227 perthousa nd 228 Acircumfl ex 229 Ecircumfl ex 230 7: Generating and Exporting Fonts Page #49
Fontographer User's Manual Aacute 231 Edieresis 232 Egrave 233 Iacute 234 Icircumfle x 235 Idieresis 236 Igrave 237 Oacute 238 Ocircumfl ex 239 apple 240 Ograve 241 Uacute 242 Ucircumfl ex 243 Ugrave 244 dotlessi 245 circumflex 246 tilde 247 macron 248 7: Generating and Exporting Fonts Page #50
Fontographer User's Manual macron 248 breve 249 dotaccent 250 ring 251 cedilla 252 hungaruml aut 253 ogonek 254 caron 255 Adobe Standard Encoding vector Char name Dec # .
Fontographer User's Manual ampersan d 38 quoteright 39 parenleft 40 parenright 41 asterisk 42 plus 43 comma 44 hyphen 45 period 46 slash 47 zero-nine 48-57 colon 58 semicolon 59 less 60 equal 61 greater 62 question 63 at 64 7: Generating and Exporting Fonts Page #52
Fontographer User's Manual at A-Z 64 65-90 bracketlef t 91 backslash 92 bracketrig ht 93 asciicircu m 94 underscor e 95 quoteleft 96 a-z 97-122 braceleft 123 bar 124 braceright 125 asciitilde 126 .
Fontographer User's Manual fraction 164 yen 165 florin 166 section 167 currency 168 quotesingl e 169 quotedblle ft 170 guillemotle ft 171 guilsingllef t 172 guilsinglrig ht 173 fi 174 fl 175 .
Fontographer User's Manual .notdef 181 paragraph 182 bullet 183 quotesingl base 184 quotedblb ase 185 quotedblri ght 186 guillemotri ght 187 ellipsis 188 Go to Chapter Seven continued...
Fontographer User's Manual Chapter Seven continued... 7: Continued perthousa nd 189 .notdef 190 questiondo wn 191 .notdef 192 grave 193 acute 194 circumflex 195 tilde 196 macron 197 breve 198 dotaccent 199 dieresis 200 .notdef 201 ring 202 cedilla 203 .
Fontographer User's Manual .notdef 204 hungaruml aut 205 ogonek 206 caron 207 emdash 208 .notdef AE 225 .notdef 226 ordfeminin e 227 .notdef 228-231 Lslash 232 Oslash 233 OE 234 ordmascul ine 235 .notdef ae 7: Continued 209-224 236-240 241 .
Fontographer User's Manual dotlessi 245 .notdef 246 .notdef 247 lslash 248 oslash 249 oe 250 germandbl s 251 .notdef 252-255 Windows 3.1 Encoding vector Char 7: Continued name Dec # .
Fontographer User's Manual ampersan d 38 quotesingl e 39 parenleft 40 parenright 41 asterisk 42 plus 43 comma 44 hyphen 45 period 46 slash 47 zero-nine 7: Continued 48-57 colon 58 semicolon 59 less 60 equal 61 greater 62 question 63 at 64 Page #4
Fontographer User's Manual at A-Z 65-90 bracketlef t 91 backslash 92 bracketrig ht 93 asciicircu m 94 underscor e 95 grave 96 a-z 97-122 braceleft 123 bar 124 braceright 125 asciitilde 126 .
Fontographer User's Manual ellipsis 133 dagger 134 daggerdbl 135 circumflex 136 perthousa nd 137 Scaron 138 guilsingllef t 139 OE 140 .
Fontographer User's Manual trademark 153 scaron 154 guilsinglrig ht 155 oe 156 .
Fontographer User's Manual 7: Continued guillemotle ft 171 logicalnot 172 minus 173 registered 174 macron 175 degree 176 plusminus 177 twosuperi or 178 threesuper ior 179 acute 180 mu 181 paragraph 182 periodcent ered 183 cedilla 184 onesuperi or 185 ordmascul ine 186 guillemotri ght 187 Page #8
Fontographer User's Manual 7: Continued onequarte r 188 onehalf 189 threequart ers 190 questiondo wn 191 Agrave 192 Aacute 193 Acircumfl ex 194 Atilde 195 Adieresis 196 Aring 197 AE 198 Ccedilla 199 Egrave 200 Eacute 201 Ecircumfl ex 202 Edieresis 203 Igrave 204 205 Page #9
Fontographer User's Manual 7: Continued Iacute 205 Icircumfle x 206 Idieresis 207 Eth 208 Ntilde 209 Ograve 210 Oacute 211 Ocircumfl ex 212 Otilde 213 Odieresis 214 multiply 215 Oslash 216 Ugrave 217 Uacute 218 Ucircumfl ex 219 Udieresis 220 Yacute 221 Thorn 222 Page #10
Fontographer User's Manual 7: Continued Thorn 222 germandbl s 223 agrave 224 aacute 225 acircumfle x 226 atilde 227 adieresis 228 aring 229 ae 230 ccedilla 231 egrave 232 eacute 233 ecircumfle x 234 edieresis 235 igrave 236 iacute 237 icircumfle x 238 idieresis 239 Page #11
Fontographer User's Manual 7: Continued idieresis 239 eth 240 ntilde 241 ograve 242 oacute 243 ocircumfle x 244 otilde 245 odieresis 246 divide 247 oslash 248 ugrave 249 uacute 250 ucircumfle x 251 udieresis 252 yacute 253 thorn 254 ydieresis 255 Page #12
Fontographer User's Manual Windows 95 Encoding vector Char Dec # Unic ode .
Fontographer User's Manual 7: Continued 45 002d hyphen 46 002e period 47 002f f slash 48 0030 zero 49 0031 one 50 0032 two 51 0033 three 52 0034 four 53 0035 five 54 0036 six 55 0037 seven 56 0038 eight 57 0039 nine 58 003a colon 59 003b semicolon 60 003c less 61 003d equal 62 003e greater Page #14
Fontographer User's Manual 7: Continued 62 003e greater 63 003f question 64 0040 at 65 0041 A 66 0042 B 67 0043 C 68 0044 D 69 0045 E 70 0046 F 71 0047 G 72 0048 H 73 0049 I 74 004a J 75 004b K 76 004c L 77 004d M 78 004e N 79 004f O Page #15
Fontographer User's Manual 7: Continued 79 004f O 80 0050 P 81 0051 Q 82 0052 R 83 0053 S 84 0054 T 85 0055 U 86 0056 V 87 0057 W 88 0058 X 89 0059 Y 90 005a Z 91 005b bracketleft 92 005c backslash 93 005d bracketright 94 005e asciicircum 95 005f underscore 96 0060 grave Page #16
Fontographer User's Manual 7: Continued 96 0060 grave 97 0061 a 98 0062 b 99 0063 c 100 0064 d 101 0065 e 102 0066 f 103 0067 g 104 0068 h 105 0069 i 106 006a j 107 006b k 108 006c l 109 006d m 110 006e n 111 006f o 112 0070 p 113 0071 q Page #17
Fontographer User's Manual 7: Continued 113 0071 q 114 0072 r 115 0073 s 116 0074 t 117 0075 u 118 0076 v 119 0077 w 120 0078 x 121 0079 y 122 007a z 123 007b braceleft 124 007 125 007d braceright 126 007e asciitilde 161 00a1 exclamdown 162 00a2 cent 163 00a3 sterling 164 00a4 currency c bar Page #18
Fontographer User's Manual 7: Continued 164 00a4 currency 165 00a5 yen 166 00a6 brokenbar 167 00a7 section 168 00a8 dieresis 169 00a9 copyright 170 00aa ordfeminine 171 00ab guillemotleft 172 00ac logicalnot 174 00ae registered 175 00af overscore 176 00b0 degree 177 00b1 plusminus 178 00b2 twosuperior 179 00b3 threesuperior 180 00b4 acute 181 00b5 mu1 182 00b6 paragraph Page #19
Fontographer User's Manual 7: Continued 182 00b6 paragraph 183 00b7 middot 184 00b8 cedilla 185 00b9 onesuperior 186 00ba ordmasculine 187 00bb guillemotright 188 00bc onequarter 189 00bd onehalf 190 00be threequarters 191 00bf questiondown 192 00c0 Agrave 193 00c1 Aacute 194 00c2 Acircumflex 195 00c3 Atilde 196 00c4 Adieresis 197 00c5 Aring 198 00c6 AE 199 00c7 Ccedilla Page #20
Fontographer User's Manual 7: Continued 199 00c7 Ccedilla 200 00c8 Egrave 201 00c9 Eacute 202 00ca Ecircumflex 203 00cb Edieresis 204 00cc Igrave 205 00cd Iacute 206 00ce Icircumflex 207 00cf Idieresis 208 00d0 Eth 209 00d1 Ntilde 210 00d2 Ograve 211 00d3 Oacute 212 00d4 Ocircumflex 213 00d5 Otilde 214 00d6 Odieresis 215 00d7 multiply 216 00d8 Oslash Page #21
Fontographer User's Manual 7: Continued 216 00d8 Oslash 217 00d9 Ugrave 218 00da Uacute 219 00db Ucircumflex 220 00dc Udieresis 221 00dd Yacute 222 00de Thorn 223 00df germandbls 224 00e0 agrave 225 00e1 aacute 226 00e2 acircumflex 227 00e3 atilde 228 00e4 adieresis 229 00e5 aring 230 00e6 ae 231 00e7 ccedilla 232 00e8 egrave 233 00e9 acute Page #22
Fontographer User's Manual 7: Continued 233 00e9 acute 234 00ea ecircumflex 235 00eb edieresis 236 00ec igrave 237 00ed iacute 238 00ee icircumflex 239 00ef idieresis 240 00f0 eth 241 00f1 ntilde 242 00f2 ograve 243 00f3 oacute 244 00f4 ocircumflex 245 00f5 otilde 246 00f6 odieresis 247 00f7 divide 248 00f8 oslash 249 00f9 ugrave 250 00fa uacute Page #23
Fontographer User's Manual 7: Continued 250 00fa uacute 251 00fb ucircumflex 252 00fc udieresis 253 00fd yacute 254 00fe thorn 255 00ff ydieresis 256 0100 Amacron 257 0101 amacron 258 0102 Abreve 259 0103 abreve 260 0104 Aogonek 261 0105 aogonek 262 0106 Cacute 263 0107 cacute 264 0108 Ccircumflex 265 0109 ccircumflex 266 010a Cdot 267 010b cdot Page #24
Fontographer User's Manual 7: Continued 267 010b cdot 268 010c Ccaron 269 010d ccaron 270 010e Dcaron 271 010f dcaron 272 0110 Dslash 273 0111 dmacron 274 0112 Emacron 275 0113 emacron 276 0114 Ebreve 277 0115 ebreve 278 0116 Edot 279 0117 edot 280 0118 Eogonek 281 0119 eogonek 282 011a Ecaron 283 011b ecaron 284 011c Gcircumflex Page #25
Fontographer User's Manual 7: Continued 284 011c Gcircumflex 285 011d gcircumflex 286 011e Gbreve 287 011f gbreve 288 0120 Gdot 289 0121 gdot 290 0122 Gcedilla 291 0123 gcedilla 292 0124 Hcircumflex 293 0125 hcircumflex 294 0126 Hbar 295 0127 hbar 296 0128 Itilde 297 0129 itilde 298 012a Imacron 299 012b imacron 300 012c Ibreve 301 012d ibreve Page #26
Fontographer User's Manual 7: Continued 301 012d ibreve 302 012e Iogonek 303 012f iogonek 304 0130 Idot 305 0131 dotlessi 306 0132 IJ 307 0133 ij 308 0134 Jcircumflex 309 0135 jcircumflex 310 0136 Kcedilla 311 0137 kcedilla 312 0138 kgreenlandic 313 0139 Lacute 314 013a lacute 315 013b Lcedilla 316 013c lcedilla 317 013d Lcaron 318 013e lcaron Page #27
Fontographer User's Manual 7: Continued 318 013e lcaron 319 013f Ldot 320 0140 ldot 321 0141 Lslash 322 0142 lslash 323 0143 Nacute 324 144 nacute 325 0145 Ncedilla 326 0146 ncedilla 327 0147 Ncaron 328 0148 ncaron 329 0149 napostrophe 330 014a Eng 331 014b eng 332 014c Omacron 333 014d omacron 334 014e Obreve 335 014f obreve Page #28
Fontographer User's Manual 7: Continued 335 014f obreve 336 0150 Odblacute 337 0151 odblacute 338 0152 OE 339 0153 oe 340 0154 Racute 341 0155 racute 342 0156 Rcedilla 343 0157 rcedilla 344 0158 Rcaron 345 0159 rcaron 346 015a Sacute 347 015b sacute 348 015c Scircumflex 349 015d scircumflex 350 015e Scedilla 351 015f scedilla 352 0160 Scaron Page #29
Fontographer User's Manual 7: Continued 352 0160 Scaron 353 0161 scaron 354 0162 Tcedilla 355 0163 tcedilla 356 0164 Tcaron 357 0165 tcaron 358 0166 Tbar 359 0167 tbar 360 0168 Utilde 361 0169 utilde 362 016a Umacron 363 016b umacron 364 016c Ubreve 365 016d ubreve 366 016e Uring 367 016f uring 368 0170 Udblacute 369 0171 udblacute Page #30
Fontographer User's Manual 7: Continued 369 0171 udblacute 370 0172 Uogonek 371 0173 uogonek 372 0174 Wcircumflex 373 0175 wcircumflex 374 0176 Ycircumflex 375 0177 ycircumflex 376 0178 Ydieresis 377 0179 Zacute 378 017a zacute 379 017b Zdot 380 017c zdot 381 017d Zcaron 382 017e zcaron 383 017f longs 385 0192 florin 386 01fa Aringacute 387 01fb aringacute Page #31
Fontographer User's Manual 7: Continued 387 01fb aringacute 388 01fc AEacute 389 01fd aeacute 390 01fe Oslashacute 391 01ff oslashacute 392 02c6 circumflex 393 02c7 caron 394 02c9 macron 395 02d8 breve 396 02d9 dotaccent 397 02da ring 398 02db ogonek 399 02dc tilde 400 02dd hungarumlaut 402 0384 tonos 403 0385 dieresistonos 404 0386 Alphatonos 405 0387 anoteleia Page #32
Fontographer User's Manual 7: Continued 405 0387 anoteleia 406 0388 Epsilontonos 407 0389 Etatonos 408 038a Iotatonos 409 038c Omicrontonos 410 038e Upsilontonos 411 038f Omegatonos 412 0390 iotadieresistonos 413 0391 Alpha 414 0392 Beta 415 0393 Gamma 416 0394 Delta 417 0395 Epsilon 418 0396 Zeta 419 0397 Eta 420 0398 Theta 421 0399 Iota 422 039a Kappa Page #33
Fontographer User's Manual 7: Continued 422 039a Kappa 423 039b Lambda 424 039c Mu 425 039d Nu 426 039e Xi 427 039f Omicron 428 03a0 Pi 429 03a1 Rho 430 03a3 Sigma 431 03a4 Tau 432 03a5 Upsilon 433 03a6 Phi 434 03a7 Chi 435 03a8 Psi 436 03a9 Omega 437 03aa Iotadieresis 438 03ab Upsilondieresi s 439 03ac alphatonos Page #34
Fontographer User's Manual 7: Continued 439 03ac alphatonos 440 03ad epsilontonos 441 03ae etatonos 442 03af iotatonos 443 03b0 upsilondieresis -tonos 444 03b1 alpha 445 03b2 beta 446 03b3 gamma 447 03b4 delta 448 03b5 epsilon 449 03b6 zeta 450 03b7 eta 451 03b8 theta 452 03b9 iota 453 03ba kappa 454 03bb lambda 455 03bc mu 456 03bd nu Page #35
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Fontographer User's Manual Chapter Eight Creating a font Family Families: Windows, SUN, NEXTSTEP Font Families on the Macintosh How Style Merger Works Do you look like your brother... or sister? Do you both have brown eyes, or red hair? Or does one of you look like your mother and the other like your father? How about your parents; do they resemble your grandparents? Well, just as your own family has differences and similarities... so do your fonts.
Fontographer User's Manual part. So you cannot choose Helvetica-Bold as the bold style in the Nova family; you must choose a font whose name starts with Nova. When you name your font in Fontographer’s Font Information dialog (which appears when you select “Font Info” from the Element menu), you have to be sure to name each font properly. This means you need to make sure the Family Name text box has the same name in it for all the styles of the family you’re building.
Fontographer User's Manual This allows you to quickly and easily build a family containing Plain, Bold, Italic, and BoldItalic fonts. If you use Fontographer to create four styled fonts of the same typeface, Style Merger can merge the four separate fonts into one family, thus saving space in your font menu. Before you run Style Merger, generate any fonts you want to include in your family (see Chapter 7). For this example, we started with these font files: Now let’s run Style Merger.
Fontographer User's Manual How Style Merger works Style Merger’s main window is mostly a collection of buttons. The button that you should press next always has a bold outline around it, to guide you through the family building process (pressing the Return key always has the effect of clicking on the currently bolded button). Buttons which you are not supposed to press yet are dimmed so that you can’t press them by mistake.
Fontographer User's Manual this button next. Of course, you can choose to add Bold, Italic, and BoldItalic styles in any order you want, so you can choose Italic next if you feel like being a rebel. To continue with the example, just click on the Bold button and add fonts in order. Clicking on the Bold button brings up the file selection dialog again, just like it did for Plain. This time, choose the Bold style, which in this example is “NovaBold.
Fontographer User's Manual If you just want to build one family, you can quit now. To do so, type “Command-q,” choose “Quit” from the File menu, or simply click in the close box of Style Merger’s window. If you want to create more families, you can leave Style Merger running to make some more. Things you should know about Style Merger Style Merger won’t prevent you from choosing incorrect faces for particular styles.
Fontographer User's Manual Futura family has a single entry in the font menu, and to the right of the name is an arrow indicating that there are multiple fonts under that listing. If you press on the “Futura” font listing you will see a menu of four styles off to the right: Light, Light Oblique, Book, Book Oblique, Bold, Bold Oblique. It is easy to create font families that behave like this. All you need is Style Merger, ResEdit, and a couple of minutes.
Fontographer User's Manual bolded. So the first thing to do is build the two subfamilies. PetesFont-Bold has to link to PetesFont-BoldItalic for the italic, and PetesFont-Italic has to link to PetesFontBoldItalic for the bold. This is easy to do. To build subfamilies: 1. Open Style Merger and choose the bold font for the Plain style, and the bolditalic font for the Italic style. This makes a family with the bold font as the base font, and the bolditalic font as the italic style.
Fontographer User's Manual font into one file. 5. Copy each FOND resource from PetesFont-Bold. fam, PetesFont-Italic.fam, and PetesFont-Bold-Italic. bmap into the file called PetesFont.fam. This is easy to do in ResEdit; just launch ResEdit, open up these four files, and copy and paste the FONDs from the three other suitcases into PetesFont.fam. To use ResEdit: 1. Open ResEdit 2.0 or a later version. 2. Open the three font families you just created plus the bolditalic bitmap file. 3. Using the PetesFont.
Fontographer User's Manual Chapter Nine Installing and Removing Fonts Macintosh PostScript Fonts Windows Fonts Windows Fonts from Macintosh to DOS Porting NeXT PostScript Fonts to NEXTSTEP PostScript Fonts in NEXTSTEP Porting Sun PostScript Fonts to SUN Removing Installed Fonts You’ve devoted a lot of time to getting your font ready to use.
Fontographer User's Manual a “suitcase file” because it looks like a little suitcase. Each of these files must be installed in its proper place for a PostScript font to work. Installing PostScript fonts in System 6 or earlier Installing a PostScript font in Macintosh System 6 (or earlier versions) requires using Font/DA Mover. You can find Font/DA Mover on the Utilities 2 disk which came with your Macintosh system software. 1. Quit all open programs.
Fontographer User's Manual 6. Click the Copy button to copy the fonts from your bitmap file into the System file. 7. Click the Quit button to exit from Font/DA Mover. 8. If you’re running under MultiFinder, choose “Restart” from the Special menu to ensure all the programs on your computer will recognize the new font. Your font is now installed. The font name will appear in the font menu of any application that has a font menu. Installing PostScript fonts in System 7.0.x Font installation in System 7.
Fontographer User's Manual Extensions folder and will automatically install your bitmap fonts in the System file. Your font is now installed. The font name will appear in the font menu of any application that has a font menu. You may now use it in any document and print it to any printer. Now, you’re ready for the next task. Installing PostScript fonts in System 7.1 or later versions System 7.1 simplifies font installation even further and doesn’t cause the bitmap file to disappear.
Fontographer User's Manual MasterJuggler Suitcase (from Fifth Generation Systems, Inc.) and MasterJuggler (from ALSoft) are both System extensions that make it easier to install and deinstall fonts. Both allow you to create a separate folder anywhere on your computer’s hard disk that can hold all your fonts, installed or not. They also allow you to install any fonts available on your computer, no matter where they are.
Fontographer User's Manual To install TrueType fonts: 1. Quit all open programs. You can’t make changes to the System file while programs that use fonts are open. 2. Double-click on the TrueType suitcase (the one with “.suit” appended to the end of its name) to start Font/DA Mover 4.1. Your TrueType outline appears as a font name without a size number after it, while any bitmap sizes you may have in the file show up with their size numbers after them.
Fontographer User's Manual because you don’t have to use Font/DA Mover. 1. Quit all open programs. You can’t make changes to the System file while programs that use fonts are open. 2. Drag the suitcase file(s) containing your font(s) on top of the System folder and release the mouse button. The System will ask you if you want to install the fonts. 3. Click “OK” to start the installation process. The System incorporates your suitcase file and installs your fonts. Your font is now installed.
Fontographer User's Manual where it is automatically installed. Your font is now installed. The font name will appear in the font menu in any application that has a font menu. Important: Be sure not to put your Fontographer database file in System 7.1’s Fonts folder. Doing so could cause problems for Fontographer when you generate font files. Installing Windows fonts PC fonts generated by Fontographer are intended for use in Windows 3.x, Windows 95 and Windows NT. PostScript fonts may be used in 3.
Fontographer User's Manual 2. Click on the Add button. 3. Scroll the Directories list until you find the drive/directory containing your fonts. 4. Double-click on the drive/directory to show the names of the fonts on the disk. 5. Select the fonts you want to install from the Available Fonts list. You can drag through the list to select multiple fonts. 6. Click the Add button to install your font(s). 7. Click the Exit button in the ATM Control Panel. ATM 2.
Fontographer User's Manual Windows TrueType and .fon installation TrueType and .fon fonts for Windows consist of a single file with the extension .ttf (TrueType Font) or .fon. You must be running Windows 3.1 (or later versions) to use TrueType or .fon fonts, since no previous version of Windows has TrueType or .fon capability. Installing TrueType and .fon fonts in Windows 3.1 or later versions 1. Open the Windows Control Panel by doubleclicking on its icon. 2.
Fontographer User's Manual The Add Fonts panel closes. Your font is now installed. The font name will appear in the font menu in every application that has a font menu. Installing TrueType Fonts in Windows 95 1. Open the Windows 95 control panel by doubleclicking on its icon or trace from the start button. Inside the control panel you’ll see a fonts folder that lists all of the .ttf fonts currently installed on the system. 2. Select Install New Font from the File menu to bring up the Add Fonts dialog box.
Fontographer User's Manual to your PC Before you can install the fonts you created on your Macintosh in Windows, you’ll have to get them copied to your PC. There are so many ways to accomplish this that we hesitate to get specific. The only key to getting files across platforms is to be sure that you don’t let the process change the binary data in any way. In other words, just change the disk format, not the data format. Transferring fonts from the PC to your Macintosh Fontographer 4.
Fontographer User's Manual Installing PostScript fonts in NEXTSTEP You can install your fonts in one of 2 places: “~/Library/Fonts” or “~/LocalLibrary/Fonts” (the tilde denotes your home directory). Installing fonts into “~/Library/Fonts” will make these fonts accessible only to you, while installing fonts into “/LocalLibrary/Fonts” will allow anyone using the workstation to access them. 1. Quit all open applications that use fonts.
Fontographer User's Manual Then type: “cacheAFMData” followed by the correct path to your fonts: “cacheAFMData/ LocalLibrary/Fonts.” That is all there is to it! You should now be able to use your fonts in any NeXT program that has a font menu. On the NeXT, the Bold command will select the Bold style. Choosing Italic selects its proper style. Selecting Heavier/Lighter will also move you through the available weights.
Fontographer User's Manual reading any further. NEWS, SPEED, and Type 1 fonts are worth the upgrade. Ready? This is going to be simple... especially if you have ever tried installing F3 fonts in Solaris 1! 1. First, you’ll need to create a directory to install the fonts in. Let’s say “/Fonts”. So the first step is to create the directory “/Fonts,” and a place to keep the “.afm” (Adobe Font Metrics) files that go with them. # cd / # mkdir Fonts # cd Fonts # mkdir afm 2.
Fontographer User's Manual typed in after “bldfamily” is just telling it which directory to look in (“.” is a way of specifying the current directory). 5. Now tell the OpenWindows to use this “library” of fonts that you’ve just created. The easiest way to do this is to edit your “.xinitrc” file (or you can just type it in the command tool in OpenWindows): # xset +fp /Fonts This command will add the directory “/Fonts” to the list of places that OpenWindows looks for fonts (the font path, therefore +fp).
Fontographer User's Manual 7. Select the names of the font files that you want to install on your system. 8. Select “Add.” 9. Point to the title-bar icon and double-click. For more information about the Font Palette, and adding new typefaces to the Font Palette samples, refer to your OS/2 documentation. Removing installed fonts It’s a rare occasion that you want to remove a font from your computer. Removing a font is not necessarily the same as updating a font.
Fontographer User's Manual 5. Click “Quit.” 6. If it’s a PostScript font, drag the PostScript file (the one with the abbreviated name and the laser printer icon) from the System folder into another folder or into the Trash. In System 7.0 1. Quit any open applications. 2. Double-click on the System file to open it. 3. Select the font you want to remove and drag it (and all its bitmap sizes) to another folder or into the Trash. 4. Close the System file. 5.
Fontographer User's Manual 5. To remove the font files from the hard disk, open your “directory” and delete the “.PFB” file for the font, then open the “” directory and delete the corresponding “.PFM file.” One step remains if you wish to remove any trace of the font from your system; editing the “WIN.INI file”: 1. Use NotePad or the System Configuration Editor to open the “WIN.INI” file. 2. Find the section header “PostScript, LPT1” or whichever port you had selected when you installed the font. 3.
Fontographer User's Manual or “~/Users/~/Library/Fonts.” 2. Select the font you want to remove. 3. Remove the “.font” extension from the name and press “Return.” 4. Now the icon representing your font has changed to a directory. 5. The font is no longer connected to the system, so you can move the folder to a storage area of your hard drive, or to the Recycle bin. Removing fonts from Solaris 2/Open Windows 3 on the SUN 1. To remove just one font from your font list, first delete (i.e.
Fontographer User's Manual 3. Open the Font Palette. 4. Select “Edit Font.” The Edit Font window appears. 5. Select “Delete.” 6. Select the names of the font files that you want to delete from your system. 7. Select “Delete.” . 8. When the files have been deleted, point to the title bar icon and double-click.
Fontographer User's Manual Chapter Ten Expert Advice General Preferences Font Blending Font Hinting Using a Resource Editor Customizing Sounds The Preferences dialog is like the dials on your television: it is where you control the way Fontographer looks and behaves... customizing your work environment. Many of the commands and tools behave in several different ways, and you can easily choose between the various items in Preferences.
Fontographer User's Manual This is where you can set the number of undo’s and redo’s. You can have Fontographer remember up to 101 things to undo or redo! The penalty for this is, as usual, memory: the more undo’s you request, the more memory Fontographer will wind up using. Unlike other programs, Fontographer has to remember undo’s for each separate character.
Fontographer User's Manual or it can choose the character which corresponds to the encoding vector of the computer currently running Fontographer. On the off-chance that that explanation wasn’t entirely crystal-clear, let’s run through an example. Suppose you’ve opted to run Fontographer on the Macintosh, you have opened an Adobe Standard encoded font, and this preference item has been set to “Use the font’s encoding to choose the character.
Fontographer User's Manual unless you have some particular need to see the font’s native encoding, that you have Fontographer re-encode each character to your computer’s encoding vector so the Font Window will place each character where you are used to seeing it. Editing behavior Distances The Cursor-key distance field lets Fontographer move points around by specified amounts when you press the arrow keys. For instance, if you set this value to be 2.
Fontographer User's Manual Snap to Point is a mode which makes aligning points much easier. If Snap to Point is on, points you drag around with the mouse will “snap” to other points as you drag by them, as if they were magnets. This is how snap-to-point works when you have set the Only snap to the closest point mode. Automatically align with all points, on the other hand, makes objects snap to “point extensions” rather than just the points. In other words, let’s say you have a point at x = 50, y = 100.
Fontographer User's Manual mode, with the points turned off. This is a very exciting path editing feature, but it makes it easier to accidentally modify paths. Point display The picture area at the top of this dialog box is the most important part of this screen. It lets you see the effect of each of the items in the dialog: simply change the state of one of the checkboxes, and look at the picture to see how that will affect the outline editing environment.
Fontographer User's Manual a double circle to appear on adjacent points (in the same path) which are on top of each other. This is a condition you almost never want, but which can occur by an inadvertent double-click of the mouse while laying down points. This preference should probably always remain on. Show points while dragging paths when checked, will display all the control points as you drag something around. Turning this off causes all the control points to disappear when you’re editing.
Fontographer User's Manual Move palettes with windows when checked, locks the positions of the palettes with respect to the window frame. So if you always place your tool palette one inch in from the left of the Outline Window, and two inches down from the top, this preference will make sure that’s where the palette stays, even when you move the window around on the screen, or switch from one Outline Window to another.
Fontographer User's Manual versions within that range (or “extrapolate” to obtain versions outside of this range). You can edit those intermediate versions as desired, and quickly produce a family of weights, from just two master designs like Extra Light and Extra Bold. The basic idea behind Font Blending is to create a few key designs, then let the computer do the work of producing a family of variants.
Fontographer User's Manual If you want to interpolate another rectangle that is 50% of the way between them (the gray rectangle on the right), you draw lines connecting the corresponding points of the two figures to be interpolated, then mark a point on each line that is 50% of the way from the outer point to the inner point. Connecting those points gives us the gray interpolated figure.
Fontographer User's Manual where the outer figure is a square, but the inner figure is a triangle. If you uncheck “Insert points to force a match,” you run out of points to connect before you are done with the square, so it is pretty hard to know what to do with the extra point. Similarly, if the outer figure is two squares and the inner figure is a single rectangle, you don’t have enough figures to connect; Fontographer would complain that the number of paths didn’t match.
Fontographer User's Manual This is useful for finding mismatches between the same character in different fonts. You will have to figure out the best technique for getting the points to match on a character–by–character basis. Sometimes it is better to remove extra points from a character with too many points, and sometimes it is better to add points to a character with too few. Just remember how the points get matched up, and let that guide you as to where to insert or delete points.
Fontographer User's Manual no matter what font format you want to use. What is hinting all about? Hinting is a process by which the computer makes type look good at small sizes and low resolutions (72 - 600 dotsper-inch, or “dpi”). To understand hinting, you first have to understand a bit about how computers print (or as the techies say, “put dots on the page”).
Fontographer User's Manual Remember that the printout you get is composed entirely of pixels, so if we were to print now, we would get a blank sheet because the computer hasn’t yet turned on any pixels. That’s the hard part; drawing the “pure” mathematical outline was easy! The trick is to figure out, by examining the outline, which pixels to turn on, and which to leave off. A reasonable start is to simply turn on all the pixels which are entirely contained by the character outline.
Fontographer User's Manual ...or scaled down, this: That didn’t turn out very well either. Note that, although we have at least a semblance of the four serifs, we still don’t even have a cross bar! Let’s try one more way: we’ll turn on all the pixels which have any of the outline touching them whatsoever: ...when scaled down, it looks like this: To review, here are the three H’s thus far: ...
Fontographer User's Manual is 50% wider than the right stem, the serifs are chunky and irregular, the cross bar is too heavy, and most importantly, it doesn’t match the outline. What we would like is something like this: That’s where hinting comes in. As we’ve shown, you can’t simply turn on pixels just by looking at the outline if you expect to wind up with a decent character. More intelligence has to be added in. Hinting works by feature recognition.
Fontographer User's Manual Hinting controls Fontographer lets you control hints from two places: the Hints layer of the Outline Window, and the Hints menu. To see actual hints, open an Outline Window, and make the Hints layer visible by checking the box next to its name in the layers palette. Here is an example of a character with hints: The small arrows indicate the presence of hints. Autohint Hinting in Fontographer is always in one of two modes: automatic, or manual.
Fontographer User's Manual new hints yet. It is waiting for the outline to be edited first. Once an outline has been edited, new hints may be calculated to match the new outline. When you open an existing TrueType font, Fontographer can not read in the hints, which are compiled into the font. Fontographer will automatically turn autohinting on. You can tell if Fontographer is on automatic by looking in the Hints menu.
Fontographer User's Manual Hint Parameters dialog, covered later. Changing the direction of a hint can be done by selecting the hint, and then choosing “Flip Hint Direction” from the Hints menu or clicking on the arrowhead of the hint. See the “Hint Parameters” section for more information on hint direction. To see what points were responsible for creating a particular hint, simply Option or Alt-click on the hint, and those points will become selected: Removing hints Removing a hint is simple.
Fontographer User's Manual To make a new horizontal stem hint: 1. Select two points which define the stem: 2. Choose “Make Horizontal Stem” from the Hints menu. To make a new serif hint: There are two ways to do this: 1. You can start off with two hints. In the case of a serif on a vertical stem, you need one hint from the right side of the stem to the left side of the serif; the other should be from the left side of the stem to the right side of the serif. Hint direction doesn’t matter. 2.
Fontographer User's Manual 1. Select four points which define the diagonal stem. 2. Choose “Make Diagonal Hint” from the Hints menu. Selection Info for hints Selecting a hint and then choosing “Selection Info” from the Element menu brings up a dialog box that is somewhat analogous to the Point Location dialog box. It lets you traverse through all hints in the character, and modify them. This dialog box will not win any awards for “Most Approachable Dialog Box,” but it is quite powerful.
Fontographer User's Manual edited by entering new ones. If we change to Vertical serif, for instance, we get corresponding information about that particular serif. Changing to Diagonal hint displays this screen: Apply to These three checkboxes influence how the particular hint gets output. You can control, on a hint-by-hint basis, the font types which should receive the hint. For example, there may be some hints which work well for PostScript fonts but not for TrueTypes.
Fontographer User's Manual The buttons Flip will change the direction of the current hint. See the “Hint Parameters” section for more information on hint direction. New hint is a way to make a new hint anywhere you want; simply fill in the location fields in the left side of the dialog box to position the hint. Since most hints must involve actual points, this is really useful only for ghost hints (hints that exist only to pull part of a character into an alignment zone).
Fontographer User's Manual overshoot. However, at small sizes this overshoot should drop out and the letters should be the same height. The oversize is typically 4%, which means that if 4% of the em square is less than one pixel, there should be no overshoot. The way overshoot is controlled in a Type 1 font is through a blue zone. Only Adobe knows how they derived that term, but the concept is to specify important vertical alignment coordinates in a table.
Fontographer User's Manual hinting quite admirably. Be aware that although the nomenclature in this dialog is PostScript-centric these values are used by Fontographer for vertical alignment in TrueType as well. You can edit any of these values by entering new numbers into the various fields. If you ever have occasion to go back to how they used to be, you can press the “Recompute” button.
Fontographer User's Manual dialog box, find a zone which has zeros in it, and enter new values. If there are no zones with zeros, that means all the available zones are used up, and you will have to remove an existing zone in order to add a new one. Hint Parameters Choosing “Hint Parameters” from the Hints menu brings up this dialog box. Hint Parameters, like most of the other dialog boxes, will affect different groups of characters, depending upon which window you are in when you bring it up.
Fontographer User's Manual developing PostScript fonts, for instance, you could decide that you never want to look at any serif hints, or diagonal hints, since those kinds of hints can’t be applied to PostScript fonts. By unchecking “Serif hints” and “Diagonal hints,” those hint types will never appear in the Outline Window. Hint order Changing hint ordering is useful for PostScript Type 1 and TrueType fonts.
Fontographer User's Manual throw away your edits to these values, or to get new values after substantially editing the font, press the “Recalc” button. Changing the default Hint Parameters In the Font Window, Hint Parameters works with the selected characters. For example, if you wanted to modify some of the parameters for an entire font, you would simply Select All prior to bringing up Hint Parameters. Option or Alt-Hint Parameters, on the other hand, changes the defaults for new characters.
Fontographer User's Manual font, go to the Font Window, Select All, and turn Autohinting off and back on again. What happens when Fontographer opens TrueType fonts Fontographer completely hints TrueType fonts when it opens them. This happens for a number of reasons, not the least of which is that Fontographer has to change the outline format from quadratic to cubic. Using a resource editor to tweak Fontographer 4.
Fontographer User's Manual irreparable harm to your original copy of Fontographer. This example will not necessarily set up the unicode numbers for your new character names. If the names you use are listed in STR#400, then the standard unicode number will match up with it. Otherwise, refer to step 11 for further instructions. To begin: 1. Open a copy of Fontographer in your resource editor of choice. Our example uses ResEdit. 2. Double-click on the “STR#” icon. 3. Open id 386.
Fontographer User's Manual character names in sequential order starting at 1 and ending at 256. The name of the encoding vector is next. It appears in the Encoding popup found in Font Info and Generate Font Files dialogs. The next field, 256, represents the number of character names in the encoding vector. You can have more than 256 names, but never less. The final entry in the string is the “1”. This indicates that you want the encoding name to show up in the dialogs.
Fontographer User's Manual 8. Close the resource id 386. Creating the names resource Now you need to decide how to make your resource of character names. If you have a font which already has your custom names, the easiest way to get a list of the names is to export an afm file from Fontographer. Open the afm in a text editor and then copy and paste the names into the ResEdit resource.
Fontographer User's Manual own encoding from the encoding pop-up. Now copy your characters into their proper locations in this font database. While in the Font Window, select “Unicode” from the View by: pop-up. If a ** appears in the character label over the custom characters, then you know that the custom names did not map to known unicode numbers. All of the unicode data in Fontographer is stored in STR# 400. It is a large resource; so large that ResEdit can’t open and edit it in the template view.
Fontographer User's Manual (|______Helvetica) RF /descFont /|______Helvetica findfont def Simply replace Helvetica with HelveticaNarrow or Helvetica-Narrow or whatever font you desire. Just be sure the font you specify is resident in your Adobe PostScript printer. Customizing Fontographer sounds on your Macintosh Fontographer 4.1 has the ability to play cool sounds during certain actions.
Fontographer User's Manual That’s it! Run Fontographer and you’ll now hear the sounds. Have fun!!! If you find the noises emanating from your Mac just too annoying, then remove the file “Fontographer Sounds” from the folder where you keep your Fontographer application.
Fontographer User's Manual Chapter Eleven Reference Section Windows Menus Keyboard Alternatives Windows Font Window The Font Window shows you all the characters in your font at 24 points. The View by menu at the top of the window allows you to change the label over each character slot. The default choice display mode is Character, which shows the character symbol above each slot.
Fontographer User's Manual the , hold down the Alt key and type “0187.” Be sure to use the numeric keypad to the right of the keyboard. View by menu Character The Character item shows the symbol that corresponds to each slot in the Font Window. Keystroke The Keystroke item corresponds to the keyboard sequence used to enter the character. Decimal The Decimal item shows the decimal value of a character’s current slot. For example, “A” is in decimal location 65.
Fontographer User's Manual Fill Tint The Fill Tint item shows the percentage of black that will fill the character when you output a PostScript or Type 3 font. (We recommend using 100%.) Stroke Tint The Stroke Tint item shows the percentage of black that fills strokes when you output a PostScript or Type 3 font. (We recommend using 100%.) Weight The Weight item shows the character’s stroke weight in em square units when you output a PostScript Type 3 font.
Fontographer User's Manual open Bitmap or Metrics Windows will remain open. Tool palette Pointer tool The pointer tool is for selecting and dragging objects. To change to the pointer tool when another tool is being used, while the lock icon is locked, type the accent grave key (`). To temporarily use the pointer tool when another tool is selected press the Command key or the Ctrl key, and release to deselect the pointer tool.
Fontographer User's Manual key and drag. You can choose this tool, while the lock icon is locked, by typing the number “3.” Straight line tool The straight line tool draws straight lines without requiring you to place points manually. To constrain the line to the vertical, horizontal, and 45 degree angles, hold down the Shift key while dragging with the mouse. To access from another tool, while the lock icon is locked, type the number “4.
Fontographer User's Manual Curve tool The curve tool creates a point with curves on both sides. The angle of the curve can be adjusted from either of the incoming or outgoing BCPs and the radius of the curve can be adjusted individually by the BCP on the appropriate side of the point. You can choose this tool, while the lock icon is locked, by typing the number “8.” Corner tool The corner tool connects two straight lines or two curves at a cusp.
Fontographer User's Manual Click the mouse and press the Shift key to display a radius used to rotate the image on-screen. (The rotation occurs around the point where the mouse clicked on the screen.) If you click with the mouse and drag, you will constrain the movement of the radius to horizontal, vertical, and 45 degree angles. Scale tool The scale tool allows you to scale a figure horizontally and vertically, centering around the click of the mouse.
Fontographer User's Manual Magnifying tool Use the magnifying tool to enlarge or reduce the image in the window. With the tool selected, click on the place you want to center in the window, to enlarge the image (or type Command-Space-click or Ctrl+Space+ click to temporarily invoke the tool). Press Option or Alt and click with this tool to reduce the image.
Fontographer User's Manual Layers palette The Layers palette displays in the Outline window. It shows which layer is currently active and which ones are visible. The highlighted layer shows which one is currently in use. When a check appears in the checkbox beside a layer, that layer is displayed in the current window. You can click the checkboxes of the layers on or off to show or hide them. Outline layer The Outline layer is where you will create and edit your outline character.
Fontographer User's Manual is in the locked position, Fontographer also allows you to change layers simply by typing “O,” “T,” “G,” or “H.” (On the PC, you must also have Caps Lock turned on.) When the lock icon is in the locked position, you can also hide the Outline, Template, Guides, and Hints layers from view. Hold down the Option key, or Caps Lock on the PC, and type “O” to hide the Outline layer from view. Repeat to bring the Outline layer back into view.
Fontographer User's Manual or other tools to turn the dots in the bitmap on or off. The character’s outline is visible in the background to help you place the dots properly. Each of the dots in this window is equivalent to one point (pixel) on the computer screen. At the top left area of the screen you will see the current size preview of the bitmap. Maximum ascender and descender lines will appear if a character’s outline extends above the ascender line or descender line.
Fontographer User's Manual Pencil tool The pencil tool allows you to change the bits of a bitmap character in the Bitmap Window. To access the pencil from another tool, while the lock icon is locked, type the number “3.” Eraser tool The eraser tool will remove pixels when you drag it across them. Double-click on the eraser tool icon to remove all pixels in the character bitmap. To use the eraser when another tool is selected, while the lock icon is locked, type the number “4.
Fontographer User's Manual Option or Alt and click with this tool to reduce the image. To temporarily invoke this tool, press Command-Space-click to enlarge and Option (or Alt) -Command-Space-click to reduce. Select the magnifier when another tool is selected by typing the number “8.” Ascent/Descent/Offset/Width In the Info bar at the top of the window, you find the character’s ascent, descent, offset and width numbers. The ascent is the maximum distance above the baseline measured in points.
Fontographer User's Manual window. Switching characters If you need to change the character in the Bitmap Window to the next sequential character, you can use the View menu’s Next Character item (Command or Ctrl+ “]”). To change to the previous sequential character, use the View menu’s Previous Character item. When the lock icon is off, you can change characters simply by typing in the character (Command or Ctrl+“[”).
Fontographer User's Manual The Tab and right arrow keys allow you to move between slots from left to right. The Shift-Tab and left arrow keys allow you to move between slots from right to left. Typing a character when a slot is highlighted changes the character in that slot. Kerning and sidebearing lines Use the kerning or sidebearing lines to adjust the amount of space that a character has on it’s left and right edges.
Fontographer User's Manual Command (Ctrl) ; Shows the Previous kerning pair. Command (Ctrl) ] Shows the Next character. Command (Ctrl) [ Shows the Previous character. Kerning To display the characters in the textbox with or without kerning information, click on the Kerning checkbox. When an “x” appears in the checkbox, the kerning information is displayed on-screen. Using this option allows you to see how your font will appear in a program that does not support kerning.
Fontographer User's Manual for font attributes will be in use, unless you decide to change them from “Font Info” in the Element menu. (Things like the font name, ascent, descent, leading, and encoding.) (See also “Preferences.”) Open Font Open Font shows you a standard file dialog which allows you to open a Fontographer outline file, a PostScript font, or a TrueType font file. The dialog also allows you to display files according to their formats. Close Close the active window with this item.
Fontographer User's Manual and points, and the way windows and dialogs operate. For a detailed description of what you can do from the Preferences menu see Chapter 10, “The Expert Section.” Generate Font Files To make generating fonts a little bit easier, Fontographer includes two approaches: Easy and Advanced mode. The Easy mode includes everything which is usually required. And ordinarily you won’t want to bother with the Advanced mode.
Fontographer User's Manual existing typefaces without disrupting changes you have already made to your open font. Import TrueType characters also works from double-byte TrueType fonts. Export When you want to export metrics information, an EPS graphic (PC or Macintosh), aPICT image (Macintosh only), or Encoding (PC only) just select Export from the File menu. You can choose Metrics, EPS, PICT, or Encoding from the submenu.
Fontographer User's Manual sizes of the same character, a sample showing the points of a character, or one that shows points and X/Y coordinates. Quit/Exit If you Quit or Exit without first saving some changes you have made, Fontographer will ask if you want to save those changes. You can discard those changes by clicking the Don’t Save button. The Cancel button stops the process.
Fontographer User's Manual Paste takes the object(s) in the Clipboard and puts them into the selected window or character slot. Clear Clear deletes the selected object(s) without doing anything to the Clipboard. Copy Widths Copy Widths will copy the character width of a selected character to the Clipboard. Copy Reference Copy Reference copies a reference of a selected character into the Clipboard, which can then be pasted to allow layered objects.
Fontographer User's Manual Clone Clone duplicates a point or path and places it directly over the original (in the Outline Window). The View Menu Preview In the Outline Window, the Preview mode displays the character or image filled, and stroked (if it’s a stroked character), as it will appear when printed. You can edit the character in Preview mode. Show points If this item is checked, Fontographer will show the points on the path(s) in the Outline Window.
Fontographer User's Manual the sequence of kerned pairs. Next Point Next Point changes the selected point to the next one in the path’s sequence of points. Next Point Size If more than one size of bitmaps has been created for a font, you can choose this item in the Bitmap Window to switch the size of the bitmap character to the next larger point size. Previous Character This item switches the currently selected character to the previous character in the font.
Fontographer User's Manual Points will make the selection snap to the nearest point within a certain number of pixels from the pointer. Or you can choose to align the selection with all the points in the Preferences dialog. Snap to Guides Choose “Snap to Guides” when you want the selected point to snap to the nearest guideline within a certain distance from the pointer. Snap to Grid Choose “Snap to Grid” when you want a selected point to snap to the nearest intersection of invisible grid lines.
Fontographer User's Manual Rotate The Rotate item allows you to rotate any character(s) or selected parts of a character. You can choose for the rotation to occur relative to the Basepoint, the Character origin, or around the Center of selection or last mouse click if you have selected objects in the Outline Window. Scale The Scale item allows you to resize selected characters. If 100% scaling is selected, Fontographer does not change the size of the character(s).
Fontographer User's Manual Arrange Arrange allows you four choices when you are working with referenced or composite characters. It also can be used when you’re reordering paths in font blending, or when you’re creating a multiple master font. Bring to Front This item brings a selected object all the way to the front layer. Send to back This item sends a selected object all the way to the back layer. Bring forward This item brings selected objects forward by one layer.
Fontographer User's Manual how wide the underline should be; the default is 20 units. You can put any text in the Notice you like, but it must be limited to 100 characters or less. Normally you will put a copyright notice here. You would uncheck the Automatically compute em square from ascent + descent if you want an em square that is not equal to the sum of the ascent plus the descent.
Fontographer User's Manual The Even/odd fill will fill between every even/odd pair of paths, starting with the outermost path. Stroke If the “Stroke” box is checked, you can change the percentage of black which fills the stroke with the “Tint” option: 100% is black; 0% is white. Weight The Weight option allows you to change the thickness of this individual character’s stroke from the default set in the Font Info dialog. Cap and Join In this dialog, the Cap and Join options are for stroked fonts.
Fontographer User's Manual the Fontographer file. When you are ready to create an installable bitmap font use the Generate Font Files command in the File menu. Auto Trace Auto Trace will autotrace any artwork or scanned image that you have pasted in the Template layer or have brought in as a reference using the Import Bitmap item in the File menu. You may use the Easy or Advanced mode to trace images. In the Easy mode the “tight” end of the slider makes the trace follow every possible contour on the image.
Fontographer User's Manual The Expand stroke item is used to expand stroked characters (such as old versions of Courier) into contoured (outline) or filled characters. You can choose Cap and Join types, and if you are using the calligraphy option, the width and angle of the pen. Recalc Bitmaps When you choose this item selected bitmaps and point sizes will be recalculated. You can recalculate all the characters in your font, selected characters, or just the characters that are changed.
Fontographer User's Manual This item will be checked if the selected path was drawn in a counter-clockwise direction. You can change the direction of a path to counter-clockwise by selecting this item. Blend Fonts Blend Fonts takes two fonts you have selected and develops a third font that is the offspring of this merger. Multiple Master (Macintosh only) This is the dialog which controls the creation of multiple master typefaces.
Fontographer User's Manual Retract BCPs This item will retract the extended BCP lines of selected points. Split Points Split Points will divide a selected point into two points. The path can be opened by dragging one point from on top of the other. Auto Curvature This item automatically adjusts the slope of the BCPs of a selected point to maintain a regular curve as the point is moved. Curve Point This item will be checked if the selected point is a curve point.
Fontographer User's Manual horizontal and vertical location of the basepoint. If you’ve selected a single point, Fontographer will move the basepoint to that point. If you have selected more than one point, Fontographer will set the basepoint to the center of the selection‘s bounding box. Reset Basepoint Click “Reset Basepoint” to return the basepoint to its original location at the intersection of the origin and the baseline.
Fontographer User's Manual See “Kerning Assistance” in Chapter 5 for a detailed explanation. Metrics Assistance Metrics Assistance allows you to set up a table for kerning that uses certain characters as bases or prototypes for the rest of the characters in any class you set up. See “Metrics Assistance” in Chapter 5 for more information and detail. Set Metrics Set Metrics allows you to set width, as well as left and right sidebearings. You can also apply values to specific sets of characters.
Fontographer User's Manual characters by a specified percentage, you can do so with the Change width by % value option. Enter a percentage change value in the box. Equalize Sidebearings If you want to make both left and right sidebearings for selected characters the same size choose “Equalize sidebearings” from the Metrics menu. This improves the looks of typed columns of numbers. When points are selected, Equalize Sidebearings will center them between the origin and the width lines.
Fontographer User's Manual View Windows by View Windows by lets you choose whether you want to display your font windows by Font name, File name, or Both. Show Layers Palette This item displays or hides the movable Layers palette when you select it. Show Tool Palette Click on this item to show or hide the movable tool palette. The Window Choices In the lower section of the Windows menu, there is a list of all open windows. Selecting a window in the list will bring that window to the front. Fontographer 4.
Fontographer User's Manual Make Horizontal Serif To make a horizontal serif (a serif that attaches to a horizontal stem) choose four of the serif’s points and select this item from the Hints menu. Make Diagonal Hint Select four of a diagonal stem’s defining points and choose “Make Diagonal Hint” from the Hints menu. Diagonal hints are used only in Fontographer’s internal bitmap generation and for TrueType. PostScript doesn’t use diagonal hints.
Fontographer User's Manual retain the prior default hint settings. See the section “Font hinting” in Chapter 10, “Expert Advice,” for more details on hints. Vertical Alignment Zones The vertical alignment zones correspond with the I-beam indicators appearing along the left-hand side of the Outline Window when the Hints layer is visible. When you click a zone indicator, the selected zone will appear with horizontal lines defining its parameters.
Fontographer User's Manual Windows. About Fontographer This About box displays the version number, release date, and Who’s Who of developers for Fontographer 4.1 for Windows. Special keys Keyboard alternatives To avoid having to constantly move the pointer back to the tool palette, you can use the number keys on your keyboard to switch between tools.
Fontographer User's Manual In the Outline Window the arrow keys will move selected points by ten em units in the direction of the arrows. If the default setting in Preferences is changed, then this number will reflect that change. Option (Caps Lock)-arrow moves selected points by one em unit in the direction of the arrow. When the default setting in Preferences changes this number will be 1/10th the distance of the new setting.
Fontographer User's Manual Appendix A Tips We’d like to share several tricks we’ve learned while using Fontographer. Some of these are just reminders, others are shortcuts to solving typical problems. If you have additions, please send them to us. Minimize the total number of points when drawing characters. Smaller characters draw faster, take up less space in the printer and on your disk, and usually generate smoother characters. Most standard roman characters can be described in fewer than sixty points.
Fontographer User's Manual Option or Alt key, and drag until the BCP handle appears. Move one or both BCP handles directly on top of their curve points to get sharp corners with slope control. Fontographer has vertical “zones” that are important for uniformity in the font. If letters fall into these zones, the font will have uniform height. If not, your characters could unexpectedly vary in height at small sizes.
Fontographer User's Manual horizontal and vertical displacement, angle indicator and length. For example, when the pointer tool is selected, additional indicators appear for horizontal and vertical displacement. The line tool activates additional indicators for line length and angle. Check out the Align Points command in the Points menu. This will take the selected points, and automatically align them horizontally or vertically (depending upon which they are closest to being already).
Fontographer User's Manual Appendix B Answers to commonly asked questions Macromedia’s Technical Support has compiled answers to our customer’s most commonly asked questions. If you have any other questions, just give our technical support department a call at (415) 252-9080, contact the MacroFacts faxback at (800) 449-3329, or check out Macromedia’s web site at http://www.macromedia.com. I’ve made a PostScript font using Fontographer and have printed it to my printer.
Fontographer User's Manual has a hard disk. The LaserWriter IIf and IIg do not store the font cache on the hard disk, so it is merely necessary to restart these printers. What is the difference between Type 1 and Type 3 PostScript fonts? Type 1 fonts are smaller, faster to print, better looking, and work with ATM. However, Type 1 characters must be entirely black. Type 3, on the other hand, can have grayscale fills and strokes and other special effects.
Fontographer User's Manual Desktop file. Answer “Yes” and your desktop file will be rebuilt and you won’t see those pesky names any more. I’m running Macintosh System 7 and suddenly some of the keystrokes I used to type in System 6 to get characters in the upper 128 range don’t work any more. Why did this happen? Apple has changed the keyboard mapping in System 7.
Fontographer User's Manual mal 171 AB O-e-O-e S-O-e 172 AC O-u-O-u S-O-u ü 217 D9 S-O-‘ O-u-S-y â 228 E4 S-O-e S-O-r 229 E5 S-O-r & O-iS-a S-O-m & O-i-S-a 230 E6 S-O-t & O-iS-e O-i-S-e 232 E8 S-O-u & O-uS-e O-u-S-e 233 E9 S-O-i & O-‘S-e O-‘-S-e Deci mal Hex System 6.0.7 System 7.
Fontographer User's Manual but won’t print large sizes at all to my Linotronic (or any other imagesetter). Why won’t it print and what can I do about it? There is a limitation in Adobe PostScript Level 1 that limits the number of “turn points” in a PostScript character. Turn points are required when PostScript images any curved line because the PostScript imaging system really can’t do curved lines at all, it just fakes them with lots of very short straight lines all lined up at angles to one another.
Fontographer User's Manual in a non-pictorial font, it probably means the character mapping table got thrashed. To fix this, go back to the Fontographer database and make a note of the attributes (i. e., family name, full name, ascent, descent, etc.) and open a new font and give it those same attributes. Then copy your characters into the new database, save, and regenerate the .ttf. Uninstall the old font, install the new one, and you’re ready to go. Check the MacroFacts faxback for a TechNotes on this.
Fontographer User's Manual Juggler to attach the .bmap file to your System. Detach the file and Fontographer will work normally. All I did was load an existing font, generate it as a Windows TrueType, and install it. It displays terribly, compared to the way it originally looked before I opened it in Fontographer. How can I make it look good again? First—in case something got corrupted—select all from the original font, and copy and paste into a new font.
Fontographer User's Manual Hebrew and most European characters. I spend a lot of time importing graphics and making fonts out of them. But I am tired of having to have all the programs open at once in order to do the “Optioncopy’ trick. Is there anything else I can do? Yes! Fontographer 4.1 can import EPS files directly (from Macromedia FreeHand or Adobe Illustrator) either from the Outline Window or from the Font Window.
Fontographer User's Manual Appendix C General information Type terminology Ascent The ascent line marks the top of the capital letters. An ascent guideline is automatically drawn at the vertical position specified when the font is created, and may be changed by using the “Font Info” command from the Element menu. Characters should not normally go above the ascent line. Baseline The baseline is the imaginary line upon which capital letters sit.
Fontographer User's Manual share a similar appearance. Typical methods of categorization consist of measures such as thickness of stroke, angle of the stroke, roundness of letterforms, and many other dimensions which lie beyond the scope of this guide. Before the advent of Fontographer, the number of typefaces available for Windows was limited. Family When speaking about a group of related fonts, we shall use the word family to describe a related group of faces.
Fontographer User's Manual have been called “gothic,” which in Europe refers to black letters. Helvetica is an example of a sans serif face. The typeface used for our headings in this manual is a sans serif face, TFForever. Serif Serif letters can be distinguished by the line that crosses the main strokes of a character. Serifs are the short crossstrokes at the ends of letters, drawn there to improve readability of the type. The typeface used in this text is a serif face, Goudy Oldstyle.
Fontographer User's Manual (found in the Font Info dialog) are measured in em units, as are all measurements in Fontographer. The sum of these two values defines the em square. Units Fontographer units are values whose size is relative, varying with the size of the em-square and the point size of the output. Because outline fonts are scaleable, units do not directly relate to points, pixels, or any physical distance.
Fontographer User's Manual fonts are automatically generated in the range 4,000,000 to 4,999,998. If you are a commercial font developer, you should contact Adobe Systems, Inc. at (415) 961-9611 for an allocated font ID. If you do not want your font to have a unique PostScript ID, enter “0” in this field, and Fontographer will not assign a unique ID to your font. Bitmap background Bitmap fonts (Macintosh) The Macintosh uses bitmap fonts for screen display.
Fontographer User's Manual and 255 points. The width of a bitmap character is limited to 254 points. At the larger point sizes, this may require you to limit the width of an outline character. Fontographer avoids trouble by automatically limiting wide bitmap characters to 254 points, even if the character is calculated to be wider. Generating bitmaps doesn’t necessarily mean that Fontographer will generate a .FON file.
Fontographer User's Manual quality letter shapes. Fontographer supports automatic tangent joins during character construction, so its characters are perfectly smooth where they should be smooth (but can be discontinuous if necessary). Caching Translating from the program into a bitmap is a complex process which takes an amount of time proportional to the complexity of the character.
Fontographer User's Manual as it crosses clockwise paths. In the case of the “O,” the outer path should be drawn clockwise and the inner path counterclockwise. Technically, it doesn’t make any difference whether the outside path is clockwise or counterclockwise, but for the sake of consistency between Fontographer’s fonts and the proper operation of automatic hints, the outer paths should be clockwise and the inner paths counterclockwise.
Fontographer User's Manual LaserWriter background Downloading Downloading is the means by which the font description is sent from the computer to the PostScript printer. PostScript printers contain powerful computers which allow them to accept a variety of fonts and graphics commands expressed in PostScript. In particular, they can accept new typefaces through the process of downloading. PostScript printers have two important types of built-in memory.
Fontographer User's Manual Transient fonts Transient fonts are downloaded each time a document is printed, and remain resident only while that document is being printed. The printing program flushes them from memory, usually at the end of a document. Transient fonts allow a huge variety of fonts to be used without filling the printer’s memory. Automatically downloading a font takes only 15-20 seconds, so the price of transient fonts is quite low.
Fontographer User's Manual Appendix D A Short Bibliography of Typography and Allied Subjects by David S. Rose Fontographer gives you the ability to create new digital typefaces from your imagination, to recreate classic faces that are otherwise unavailable in digital form, and to adapt existing faces for your particular needs. As with any powerful tool, the more you know of the history behind it, the better able you will be to utilize it.
Fontographer User's Manual book. Letters of Credit: A View of Type Design by Walter Tracy [Boston: David Godine, 1986. 224 p, ill.] A beautiful and profusely illustrated step-by-step demonstration of typedesign aesthetics that traces the beginnings and the path of modern-day typesetting. Printing Types: Their History, Forms, and Use by Daniel Berkeley Updike (1860-1941) [New York: Dover, 1980 reprint of the second (1937) edition]. This is the classic work in the field of typographic history.
Fontographer User's Manual contains a complete calendar of everything of typographic interest that is happening nationally and internationally. Fine Print was published quarterly through about 1990, after which the publication led a cliff-hanging existence as various groups and institutions tried to save it. Information might still be available from Fine Print at (415) 543-4455.
Fontographer User's Manual Roman Lettering by L.C. Evetts [New York: Taplinger, 1979] includes a character-by-character analysis of the letters on Trajans Column in Rome, which have served for centuries as one of the foundations of roman (serif) letter design. Evetts also includes charts showing the evolution of the roman alphabet through the centuries. Handsome lettering, with little text to clutter the presentation.
Fontographer User's Manual of the experts in the field of typographic history. This lovely, massive (500 pages), and very expensive collection of some of his writings from 1927-1957 concentrates primarily on the typographic work of sixteenth century calligraphers and printers. A view of early typography up to about 1600 by Harry Carter [(The Lyell lectures 1968) Oxford, Clarendon P., 1969. xii, 137 p. 45 plates. Illus., facsims., col. Map].
Fontographer User's Manual typographic experiments of the 20th century, as recorded in Typographica magazine. Typography The Crystal Goblet; sixteen essays on typography by Beatrice Warde [Cleveland and New York: World Publishing Company, 1956]. From a major woman in the field of typography come some thought-provoking pieces, including the famous analogy that gave the collection its name. Out of print, but available, and mandatory reading. Better Type by Betty Binns [New York: Watson-Guptill, 1989. 192 p].
Fontographer User's Manual and the famous typography of London Underground. Typography, A Manual of Design by Emil Ruder [Niederteufen, Switzerland: Arthur Niggli Ltd, 1977. 3rd Edition]. A fascinating, disciplined, and very Swiss analysis of typography and letterforms. Ruder’s discussion and illustration of the importance of white space in letter forms and graphic designs is excellent background reading.
Fontographer User's Manual Jan Tschichold: typographer by Ruari McLean [Boston: David R. Godine, 1975]. This puts Tschichold’s career and writings in the context of developments in society around him. It is informative and thought-provoking on its own, and serves as useful background to his writings on the subject.
Fontographer User's Manual Pioneers of modern typography by Herbert Spencer [Cambridge, Mass.: MIT Press, 1983. Rev. ed. 160 p. : ill.]. Typeface Reference Works Graphics master; a workbook of planning aids, reference guides, and graphic tools for the design, estimating, preparation, and production of printing, print advertising, and desktop publishing by Dean Phillip Lem [Los Angeles, Calif.: D. Lem Associates, 1988. 4th ed. 153 p. : ill. (some col.)].
Fontographer User's Manual hypertext form (included with Fontographer on its CD.] A hard copy of this award-winning booklet defining typographic terms is also in the Fontographer package. Font & Function [Mountain View, California: Adobe Systems] is Adobe’s biennial catalog of their latest font offerings. But this tabloid size, four-color publication is also quite a bit more.
Fontographer User's Manual covers the ground pretty thoroughly. Although not a classic work (and, indeed, poorly designed itself as a book), it serves as a very handy reference to the history of books. An expensive purchase at the original price of $45, it is often available on remainder for about $10. The Making of Books by Sen Jennett [New York and Washington: Frederick A. Preager, 1967].
Fontographer User's Manual depth study of any particular area, this book is a very good first place to start for beginning desktop publishers. Collier’s Rules for Desktop Design and Typography by David Collier [New York: Addison-Wesley, 1992, 135 pp, illus.] David Collier of DeCode Design is a Young Turk of the British graphic design field, who has produced, an interesting, useful, graphically dazzling and extremely selfabsorbed reference for Macintosh typography.
Fontographer User's Manual as some of the books from Peachpit Press, though. Digital typography; an introduction to type and composition for computer system design by Richard Rubinstein [Reading, MA: Addison-Wesley Pub. Co., 1988. xi, 340 p.: ill.]. Bibliographies A Typological Tally compiled by Tony Appleton [Brighton, (T. Appleton, 28 Florence Rd., Brighton, Sussex BN1 6DJ), 1973. 94 p. ill.].
Fontographer User's Manual 2414 Sixth Street Berkeley, CA 94710 (800) 283-9444 (510) 548-5991 Timothy Hawley Books 2114 Douglass Boulevard Louisville, KY 40205 (502) 451-0518 The Veatchs, Arts of the Book 20 Veronica Court Smithtown, NY 11787-1323 (516) 265-3357 The Bookpress Ltd. Post Office Box KP Williamsburg, VA 23187 (804) 229-1260 Many thanks to Howard Gralla, Alvin Eisenman, Robert Fleck, Kathy Schinhofen, Chuck Rowe, Earl Allen, Susan Lesch, Kathleen Tinkel and Michael J.
Fontographer User's Manual The Fontographer User Guide Bibliography Adobe Type 1 Font Format. Adobe Systems Incorporated. 1990. Adobe Type 1 Multiple Master Typefaces. Adobe Systems Incorporated. 1991. Shubitz, Steve. Installing and Using Fontographer PostScript PC Fonts on MS-DOS Machines. La Jolla: Published Perfection!. 1990. Speedball Textbook for Pen and Brush Lettering (20th Edition). Philadelphia: Hunt Manufacturing Co. 1972.
Fontographer User's Manual Glossary AFM: (Adobe Font Metrics) A specification for storing (in a text file) font metrics information such as character widths, kerning pairs, and character bounding boxes. Application: A computer program, designed to perform a specific function such as word processing or illustrating. Ascent: A font’s maximum distance above the baseline. ASCII: (American Standard Code for Information Interchange) A numbering scheme used for identifying printing characters.
Fontographer User's Manual Bitmap font: A character set created by turning on or off individual dots in a rectangular grid of dots. Bitmap Window: The window used to view and edit character bitmaps. Blend: To merge two different font shapes to create a third. Byte: A unit of data consisting of a small number of bits; usually a byte equals a series of eight bits and signifies a character.
Fontographer User's Manual which allows precise point adjustment without requiring a zoom-in. Descent: A font’s maximum distance below the baseline. Descender line: The lowest line that a character’s descender extends to, like the line beneath the lowercase ‘j’ and ‘y.’ Dialog box: A window that displays when the computer needs more information from the user. Discontinuous: Not adjacent to each other (as in discontinuous characters).
Fontographer User's Manual expanded) horizontally while still retaining their original height. Face: Short for ‘typeface’; the style of a font or set of character images. Family: All the type sizes and styles of one typeface. A complete character set of a font. The group shares a common design but can differ in attributes such as character width, weight, and posture (i.e., Roman vs. Italic). A typical computer family unit frequently contains four fonts—Roman, Italic, Bold, and BoldItalic—in all sizes.
Fontographer User's Manual accessed. Fontographer: Macromedia’s outline font editor designed to simplify the creation of high-quality fonts, logos, and other intricate PostScript artwork. Generate: To create a character or set of characters so that they can be viewed on the screen or printed. Usually a bitmap font and a PostScript font is generated for each font, but with outline font formats, you only need to generate one font file.
Fontographer User's Manual Megabyte: A measuring unit; 1,048,576 bytes; denoted by the letters “M” or “MB.” Mean line: The top (imaginary) point of all lowercase characters without ascenders. Also called “x-height.” Metrics: Font information such as ascent, descent, leading, character width, and kerning. MMPC2MAC: Macromedia PC to Macintosh font conversion utility. Converts files created for the Macintosh on a PC into Macintosh font files ready for installation.
Fontographer User's Manual inches or 12 points. PICT: A Macintosh graphics format that Fontographer and other graphic and page layout programs use. Pixel (PICture ELement): Square dots that represent the smallest units displayed on a computer screen. Typical monitors display about 72 pixels per inch. Characters and graphics are created by turning pixels on or off. Point: A unit of typographic measurement equal to approximately 1/72 inch (0.01383 inches). Point size: The height of the type body.
Fontographer User's Manual composite. Rendering: The actual placement of rasterized pixels on the monitor’s display. Refers both to graphic objects and type, particularly for fonts using hints. Also called “rasterization.” Resolution: The number of dots in an image’s screen display or printed output. A monitor’s resolution refers to the number of pixels per linear inch. Printed resolution refers to dots per linear inch. (See dpi.) Right justified: Type aligned with its right margin.
Fontographer User's Manual (right sidebearing). Skew: Creating an oblique image by transforming paths. Spacing: The amount of unused area that exists between characters. Stroke: A line which may be expanded in width; or the width of the linear elements that compose characters. Style: A visual variation of a basic typeface used to create emphasis. Type style is important since it can attract (or repel) the reader’s eye. The four basic computer styles are Plain, Bold, Italic, and BoldItalic.
Fontographer User's Manual quality resolution at any size. Type 3 PostScript font: Also referred to as user-defined fonts, these are non-Adobe encrypted fonts. They will not render on-screen if you are using ATM. Typeface: A set of characters which share a similar appearance. Weight: The measurement of a stroke’s width; or, in general, the heaviness of a character or font. Common names for weights include demibold, light, and bold.
