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Introduction What a Long, Strange Trip It`s Been

1. Duplicating points By choosing Duplicate from the Edit menu you can copy selected points and paths The duplicated points will offset slightly down and to the right from the original outline and are selected Power duplicating By combining the Clone and Duplicate items in the Edit menu you can create some pretty interesting images Follow our example below to create a spiral character and then try some combinations of your own 1 Create any shape i 2 Choose Clone from the Edit menu 3 Use the rotation tool on the cloned image 4 Select Duplicate from the Edit menu d 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 Removing points Anytime you want you can delete a point in a path by selecting the point and pressing the Backspace or Delete 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 1s 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 E m 5 u IN i 1 1 i Aw a det e or Select the points and press the Delete or backspace key This removes active points opening the path up 1f it wa
2. 392 393 394 395 396 397 398 399 400 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 O1ff 02c6 02c7 02c9 02d8 02d9 02da 02db 02dc 02dd 0384 0385 0386 0387 0388 0389 038a 038c 038e 038f 0390 0391 0392 0393 0394 0395 oslashacute circumflex caron macron breve dotaccent ring ogonek tilde hungarumlaut tonos dieresistonos Alphatonos anoteleia Epsilontonos Etatonos Iotatonos Omicrontonos Upsilontonos Omegatonos lotadiere sistonos Alpha Beta Gamma Delta Epsilon z E gt RH D m N fg P i AA deb Pet Pe g O zc a ez md 415 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 0396 0397 0398 0399 039a 039b 039c 039d 039e 039f 03a0 03al 03a3 03a4 03a5 03a6 03237 03a 03239 03aa 03ab 03ac 03ad 03ae 03af 03b0 Zeta Eta Theta Iota Kappa Lambda Mu Nu Xi Omicron Pi Rho Sigma Tau Upsilon Phi Chi Psi Omega Iotadieresis Upsilondieresis alphatonos epsilontonos etatonos lotatonos upsilondieresis tonos gt m qo m um om a X um lt cx i 444 445 446 447 448 449 450 45
3. rip 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 The metrics commands located in the Metrics menu range from completely easy and automatic to very technical and extremely powerful Or to use a different analogy it can be the difference between flying a kite and flying the space shuttle 1t sort of depends upon what you want to do Set Width Set Width 1s a straightforward and easy way to adjust the widths of lots of characters at once Set Width works with the current selection So if you are in the Font Window simply select all the characters you want to change and then bring up Set Width You can simply replace each character s width with a new one or you can increase or decrease the existing widths This is an easy way to take an entire font and quickly make the spacing five percent looser for example A at pet Ve imi gm urit Las id A hg E ids sim li d bu ni Lunge vid ls ig Lom m mr e Equalize Sidebearings Sometimes you will want a character s left sidebearing to equal its right sidebearing for the sake of vertical alignment Numbers frequently appear in tabular form and 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
4. 558 559 560 561 562 563 564 565 566 567 568 570 571 572 573 574 575 044c 044d 044e 044f 0451 0452 0453 0454 455 0456 0457 0458 0459 045a 045b 045c 045e 045f 0490 0491 1e80 le 1 les2 1e83 les4 1e85 af1110094 af1110095 af1110096 af1110097 af1110071 af1110099 af1110100 af110101 af1110102 af1110103 af1110104 af1110105 af1110106 af1110107 af1110108 af1110109 af1110110 af1110193 af1110050 af1110098 Werave wgrave Wacute wacute Wdieresis wdieresis Ed 576 577 579 580 581 582 583 584 585 586 587 588 589 59 292 593 594 595 596 597 598 599 600 601 602 603 lef2 lef3 2013 2014 2015 2017 2018 2019 20la 201b 201c 201d 20le 2020 2021 2022 2026 2030 2032 2033 2039 203a 203c 203e 2044 207f Y grave ygrave endash emdash af1100208 underscoredbl quoteleft quoteright quotesinglbase quotereversed quotedblleft quotedblright quotedblbase dagger daggerdbl bullet ellipsis perthousand minute second guilsinglleft guilsinglright exclamdbl radicalex fraction nsuperior 605 606 607 609 610 611 612 613 614 616 617 618 619 621 622 623 624 625 626 627 629 630 631 632 633 635 2043 20a4
5. L S IDEE Li Adobe Jurte anager Click on the Add button Scroll the Directories list until you find the drive directory containing your fonts Double click on the drive directory to show the names of the fonts on the disk Select the fonts you want to install from the Available Fonts list You can drag through the list to select multiple fonts Click the Add button to install your font s Click the Exit button in the ATM Control Panel ATM 2 0 will display a dialog asking you to restart Windows osi mute coca ri eden Exc guit Cibi Ex Lak ducc Bebe la currenti eder pro Press Restart Windows If you didn t see this dialog everything s okay you re just using ATM 2 5 or later so this doesn t apply to you Your font is now installed The font name will appear in the font menu in every application that has a font menu Windows TrueType and fon installation Note 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 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 double clicking on its icon Open the Fonts panel by double clicking on its icon The Fonts panel appears Click on the Add button The Add Fonts panel app
6. au Em lt n E a n a 1 mm e WR emt The other members of the equivalence class are A A and A This is a fairly typical class All the members of it are related rather obviously to the base character Other common classes are ones that Note Note link E with E and so on There is nothing added to the base value A is linked to all the letters A A A A and A but not vice versa When this class 1s applied by accepting the dialog box the left sidebearings and widths of A A and will all be made equal to the left sidebearing and width of the base character A In addition if you should ever edit the A either by changing its width or moving the outline around so that the left sidebearing changes all those other characters will update automatically You can get pretty imaginative in figuring out which characters should be linked to which others For instance 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 1s 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 Therefore if you really get into it it
7. 2047 2105 2113 2116 2122 2126 212e 215b 215c 215d 215e 2190 2191 2192 2193 2194 2195 21a8 2202 2206 220f 2211 2212 2219 franc af1108941 peseta afi161248 af1161289 afi161352 trademark Ohm estimated oneeighth threeeighths fiveeighths seveneighths arrowleft arrowup arrowright arrowdown arrowboth arrowupdn arrowupdnbse partialdiff increment product summation minus periodcentered Les qr MESS e D Iv il 1 F d LTL r HS 4 636 637 638 639 640 641 642 643 644 645 647 649 650 651 653 654 655 656 657 658 659 660 661 662 663 664 221a 221e 221f 2229 222b 2248 2260 2261 2264 2265 2302 2310 2320 2321 2500 2502 250c 2510 2514 2518 251c 2524 232 2534 253c 2550 radical infinity orthogonal intersection integral approxequal notequal equivalence lessequal greaterequal house revlogicalnot integraltp integralbt SF100000 SF110000 SF010000 SF030000 SF020000 SF040000 SF080000 SF090000 SF060000 SF070000 SF050000 SF430000 F F m z vm E u I M M dl A c le E i 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 2551 2552 2553 2554
8. 3 Press the applicable buttons and then choose the appropriate bitmap font files for your Bold Italic and Boldltalic faces 4 Press the Save Family button and OK the dialog to save your new family You can even change the name of the suitcase file if you like That s all there is to it How Style Merger works Style Merger s main window 1s 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 On the left side of the window are the style buttons Plain Bold Italic and BoldItalic When you start up Style Merger Plain is the only button you can initially press other than the Help button which 1s always available In addition Plain has a bold outline around it indicating that this 1s the button you should press first Pressing the Plain button begins the process of creating a family A file selection dialog box appears allowing you to choose your fonts Say you choose Nova Normal because that 1s the Plain style of Nova Clicking Plain always wipes out any previously selected fonts and allows you to start over So if you are making a family and you choose the wrong fonts by accident simply press Plain to automatically remo
9. Editing and placing BCPs Fontographer gives you considerable control over the shape of curved segments This is done by adjusting the position of the B zier Control Points nicknamed BCPs because Fontographer s curved segments are B zier curves B zier 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 Pull the BCP out of the control points and use them like levers to control the shapes of the extending line segments Moving the lever adjusts the angle of the curve The length of the lever Note tip rip rip Note determines the degree and depth of the curved segment When a point has two BCPs as in corner and curve points one handle controls the incoming segment and the other controls the outgoing segment The default preference setting displays the BCP lines when a control point is selected although you can change this in the Point display area in the Preferences dialog BCP principles BCPscontrol the shape of B zier curves between points Selecting a control point activates that point s B zier points BCPs that lie within control points may not be visible There are two BCPs associated with each control poi
10. Edot edot Eogonek eogonek Ecaron ecaron Gcircumflex gcircumflex QA p Hl ES dx ce Do m Ch Um E E E pr i IJ DU YN a 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 Olle 011f 0120 0121 0122 0123 0124 0125 0126 0127 0128 0129 012a 012b 012c 012d 012e 012f 0130 0131 0132 0133 0134 0135 0136 0137 Gbreve gbreve Gdot edot Gcedilla ecedilla Hcircumflex hcircumflex Hbar hbar Itilde itilde Imacron imacron Ibreve ibreve Iogonek iogonek Idot dotlessi IJ ij Jcircumflex jcircumflex Kcedilla kcedilla irta L3 gt m E Z wu nd d b o C mn gg De CX C 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 o2 328 329 330 33 332 333 334 335 336 337 0138 0139 013a 013b 013c 013d 013e 013f 0140 0141 0142 0143 144 0145 0146 0147 0148 0149 014a 014b 014c 014d 014e 014f 0150 0151 kereenlandic Lacute lacute Lcedilla Icedilla Lcaron lcaron Ldot Idot Lslash Islash Nacute nacute Ncedilla ncedilla Ncaron ncaron napostrophe Eng eng Omacron omacron Obreve obreve Odblacute odblacute a HM m eno
11. If you want to use a custom style name be sure to let Fontographer assign a standard style name first and then re assign your custom name So if you want to call your bold italic 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 Otherwise your fonts will end up with unusable names like Untitled ttf for a TrueType font and you ll have to start over Saving your work rip You save Fontographer database files via the Save or Save As commands in the File menu The database file is where Fontographer stores all the parts needed to construct any font Just like you save documents in Microsoft Word or graphics in Macromedia FreeHand the database is where you save your fonts in Fontographer The standard file saving dialog appears You can name your databases anything you like because there s no relationship between the name of the actual font you ll use in your programs and the name of the database itself 1 Choose Save as from the File menu Macintosh users have the option of creating and naming a new folder to store a font in You can save your font directly to another folder drive or directory on all platforms 2 Type in MyFatFont PC use
12. Introduction What a Long Strange Trip It s Been Introducing Fontographer Howto 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 Large means it wouldn t fit on a desktop because it was larger than a desk We had workstations that were about six feet wide by six feet deep by four feet tall with a 19 vector monitor a mouse with four or five buttons and a keyboard with a few dozen extra keys If you must know this was trucktop publishing Proprietary means that we developed the software and some of the hardware ourselves so no one else could use it and there were only two or three engineers in the world who knew how to make changes additions or fixes to the software and this happened quite infrequently and very slowly In addition proofing the fonts required a series of conversions and mastery of a typesetting command language about as friendly as Kanji Into this world one day came two visitors from somewhere down south They carried a little box that because it was so small I thought was surely a kitchen appliance a toaster or blender perhaps But when they plugged it in there seemed to be type drawing going on inside of the
13. Pi Tiki inni ia F rima tices le gesagt 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 In other words if you want the bitmap to be 12 points in Windows then start with a 16 point bitmap on the Macintosh The formula to use would be Windows bitmap size X 3 bitmap size In Fontographer Fontographer 4 1 for Windows converts the bitmap sizes automatically For more information refer to the section on Creating bitmaps for cross platform use Drima Tari bo cul pol lampas ris FL Tapis DTE F biimap drer in oipo The ID Field The ID field is provided to assign the font family ID Bitmap font families essentially FONDs are identified internally by a unique number ranging between 1 and 16 383 Numbers between 1 and 1 023 have already been used by Apple and other font developers and they should not be used Apple has reserved font numbers between 3 071 and 16 383 for commercial use However when creating a font you must try to choose a value that does not conflict with those assigned to existing fonts This 1s especially important with respect to your printing devices
14. a Cb culi iir iir bra sl 12 D bh TT sl Im rx ei ai e lt s a E Ra h kal ka i j di e n s URL a Then select Scale and enter 80 in the Horizontal text box 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 Once you ve finished trying out all the options you can apply the transformation to several characters or the entire font by selecting groups of characters in the Font Window Skewing multiple characters You can skew scale flip or move either a single character or a range of characters Select more than one character in the Font Window by holding down the Shift key while clicking on characters Select a range of characters by dragging through the characters In this way you can apply transformations to one several or all characters Creating a fraction using composite characters Note E a mu Pe fug ga LATA Ta IAEA AIR srir ioe j 4 HT 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
15. i mn Gen we Que Wk e wii wa Ci 8 Ch ci 338 339 340 34 342 343 344 345 346 347 348 349 350 35 352 353 354 355 356 357 358 359 360 361 362 363 0152 0153 0154 0155 0156 0157 0158 0159 015a 015b 015c 015d 015e 015f 0160 0161 0162 0163 0164 0165 0166 0167 0168 0169 016a 016b OE OC Racute racute Rcedilla rcedilla Rcaron rcaron Sacute sacute Scircumflex scircumflex Scedilla scedilla Scaron scaron Tcedilla tcedilla Tcaron tcaron Tbar tbar Utilde utilde Umacron umacron e Ce Gr Qo ge on Fa Ng PSC NO MON NM k lt Fb cj Ch pe Pm 364 365 366 367 368 369 370 371 572 373 374 375 376 2d 378 379 380 381 382 383 385 386 387 388 389 390 016c 016d 016e 016f 0170 0171 0172 0173 0174 0175 0176 0177 0178 0179 017a 017b 017c 017d 017e 017f 0192 Olfa 01fb Olfc Olfd Olfe Ubreve ubreve Uring uring Udblacute udblacute Uogonek uogonek Wocircumflex wcircumflex Ycircumflex ycircumflex Ydieresis Zacute zacute Zdot zdot Zcaron zcaron longs florin Aringacute aringacute AEacute aeacute Oslashacute Pa A E E s wi m Lb nM N p 39
16. 1897 New York Pierpont Morgan Library 1984 Boston MA D R Godine xiv 192 p 111 Available both in hardcover and paperback this collection by one of the great printer scholars of the century is a must have for anyone interested in original source material More than a hundred full pages facsimiles from the Morgan Library provide an instant overview of the development of typographic design from Gutenberg to the mid twentieth century Selected Essays on Books and Printing by A F Johnson Amsterdam Van Gendt 1970 Johnson was a scholar at the British Museum and along with Daniel Berkeley Updike and Stanley Morrison was considered one 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 A history of the old English letter foundries with notes historical and bibliographical on the rise and fall of English typography by Talbot Baines Reed 1852 1893 and A F Johnson Folkestone Dawsons Reissued 1974 xiv 400 p fold Leaf ill facsims Notes on a Century of Typography at the University Press Oxford 1693 1794 by Horace Hart Oxford Clarendon Press Reis
17. 1f there are any By the way our Yo example here could really use a kerning pair The rather complicated area at the bottom of the window is the spreadsheet area This is where all the exact kerning and spacing values are shown You can enter numbers directly into these cells or merely look at them to see what the values are You can also cut copy and paste values between the cells In the upper right section of the window you see a checkbox marked Kerning When checked the Metrics Window character display will show the effects of any 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 You can navigate from line to line by using the little up and down arrows located to the left of the File button This allows you to come rip up with particularly illuminating files of text samples and run your fonts through them quickly and easily without having to type in all kinds of stuff over and over Character display The fun thing about the metrics character display is that all the attributes of the characters can be modified interactively with the point
18. 209 210 211 212 213 214 215 216 217 218 uo za Ro Rn A y e c cC te eo sn 0 E sarde Ucircumflex Udieresis Yacute Thorn germandbls agrave aacute acircumflex atilde adieresis aring ae ccedilla egrave eacute ecircumflex edieresis igrave lacute icircumflex idieresis eth ntilde ograve oacute ocircumflex 219 220 221 222 223 224 223 226 22 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 t E pu ES otilde odieresis divide oslash ugrave uacute ucircumflex udieresis yacute thorn ydieresis 245 246 247 248 249 250 251 292 253 254 295 Windows 95 Encoding vector Char Dec Unicode Name 0 31 notdef 32 0020 space 33 0021 exclam S 34 0022 quotedbl 35 0023 numbersign 36 0024 dollar UA 37 0025 percent kr 38 0026 ampersand t 39 027 quotesingle 40 0028 parenleft 41 0029 parenright 42 002a a asterisk Mo AY c v FD OQ He tg 43 44 45 46 47 45 49 50 51 DZ 53 54 39 56 27 58 59 60 61 62 63 64 65 66 67 68 002b 002c 002d 002e 002f 0030 0031 0032 0033 0034 0035 0036 0037 0038 0039 003a 003b 003c 003d 003e 003f 0040 0041 0042 0043 0044 plus c comma hyphe
19. 2555 2556 2557 2558 2539 255a 255b 255c 255d 255e 255f 2560 2561 2562 2563 2564 2565 2566 2567 2568 2569 256a SF240000 SF5 10000 SF520000 SF390000 SF220000 SF210000 SF250000 SF500000 SF490000 SF380000 SF280000 SF270000 SF260000 SF360000 SF370000 SF420000 SF190000 SF200000 SF230000 SF470000 SF480000 SF410000 SF450000 SF460000 SF400000 SF540000 gt Y b e 69 692 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 718 256b 256c 2580 2584 2588 258c 2590 2591 2592 2593 25a0 25al 25aa 25ab 25ac 25b2 25ba 25bc 25c4 25ca 25cb 25cf 25d8 25d9 25e6 263a SF530000 SF440000 upblock dnblock block Ifblock rtblock Itshade shade dkshade filledbox H22073 H18543 H18551 filledrect triagup triagrt triagdn triaglf lozenge circle H18533 invbullet invcircle openbullet smileface Eo b a Ph n lt lt Cy wo Tt 0 719 720 721 122 123 724 725 726 728 729 730 731 132 733 263b 263c 2640 2642 2660 2663 2665 2666 266a 266b f001 1002 fb01 fb02 invsmileface sun female male spade club heart diamond musicalnote musicalnotedbl
20. 514 515 516 2517 518 519 520 521 222 0418 0419 041a 041b 041c 041d 04le 041f 0420 0421 0422 0423 0424 0425 0426 0427 0428 0429 042a 042b 042c 042d 042e 042f 0430 0431 af1110026 af1110027 af1110028 af1110029 af1110030 af1110031 af1110032 af1110033 af1110034 af1110035 af1110036 af1110037 af1110038 af1110039 af1110040 af1110041 af1110042 af1110043 af1110044 af1110045 af1110046 af1110047 af1110048 af1110049 af1110065 afii 10066 Box ee lt Hd E m E 523 524 525 526 227 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 0432 0433 0434 0435 0436 0437 0438 0439 043a 043b 043c 043d 043e 043f 0440 0441 0442 0443 0444 0445 0446 0447 0448 0449 044a 044b af 10067 afii 10068 af 10069 afi 10070 afi 10072 afii 10073 afi 10074 afii 10075 afi 10076 afi 10077 afi 10078 af 10079 af 10080 afi 10081 afi 10082 afi1 10083 afi 10084 afii 10085 afi 10086 afi 10087 afii 10088 afii 10089 afii 10090 afi 10091 afi 10092 af 10093 p Ka Wr K s gt ca wv D P dg zi 549 550 551 032 553 554 555 556 557
21. 97 122 123 124 125 126 127 129 130 131 132 133 134 135 136 bo Ch perthousand Scaron guilsinglleft OE notdef quoteleft quoteright quotedblleft quotedblright bullet endash emdash tilde trademark scaron guilsinglright oe notdef Y dieresis nbspace exclamdown cent sterling currency yen brokenbar 137 138 139 140 141 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 section dieresis copyright ordfeminine guillemotleft logicalnot minus registered macron degree plusminus twosuperior threesuperior acute mu paragraph periodcentered cedilla onesuperior ordmasculine guillemotright onequarter onehalf threequarters questiondown Agrave 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 7 quin Ph Hb on Ph lt ON D Des De p mi DO O C Zi CC om x CO a Aacute Acircumflex Atilde Adieresis Aring AE Ccedilla Egrave Eacute Ecircumflex Edieresis Igrave lacute Icircumflex Idieresis Eth Ntilde Ograve Oacute Ocircumflex Otilde Odieresis multiply Oslash Ugrave Uacute 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208
22. Font IDs for new fonts are automatically generated in the range of 4 000 000 to 4 999 998 f you are a commercial font developer you should contact Adobe Systems Inc at 415 961 4111 for an allocated font ID Note The PostScript ID Field is optional If you do not want your font to have a unique PostScript ID set this field to O and Fontographer won t put a unique ID in your font TrueType Developed as a joint venture by Apple and Microsoft TrueType fonts have become a popular outline font option for Macintosh and Windows systems You can set your ascent and descent in Font info under the Element menu to adjust for the larger em square if you wish You might try values of 1 638 for ascent and 410 for descent to approximate the default em square s 800 200 split Many users like working in the larger em square as they feel it gives them finer control of the character outline You can however successfully create a TrueType font using the default em square of 1 000 built into Fontographer To generate Macintosh TrueType fonts 1 Choose Generate Font Files from the File menu 2 If you are not already in the Advanced mode click on the Advanced radio button in the Generate Font Files dialog 3 Select Macintosh from the Computer pop up menu 4 Select TrueType from the Format pop up menu There is a TrueType Options dialog which appears when you click on the TrueType Options button AAA Biren Y
23. Multiple transformations There are times when you ll probably want to do more than one transformation at once Fontographer lets you apply up to four transformations at one time to one character or 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 A Lk ma i umi To apply multiple transformations 1 Select a character 2 Choose Transform from the Element menu cr dp Ferie Select up to four transformations Enter the transformation values Click Transform 3 D transformations using the Transform dialog Using the Transform dialog to apply 3 D transformations 1s simpler if you use the tools to setup the transformation Double clicking on the Perspective tool will bring up the Transform dialog ready to apply a 3 D rotation transformation Option double clicking on the selection tool will bring up the Transform dialog ready to apply a 3 D move transformation Let s do an example of a 3 D rotation In our example we will draw and then transform a square circle To use the Scale tool 1 Draw a square and a circle holding the shift key down to constrain the tools that start at the origin point and extend to the descent Drag the width line on top of the rightmost point on the circle Choose Correct Path Direction from the Element menu The character should look like this with P
24. Oslash Ugrave Uacute Ucircumflex Udieresis Yacute Thorn germandbls agrave aacute acircumflex atilde adieresis aring ae ccedilla egrave acute C Dp Ce I TK Ci Do cC E c ws CG Ji 8 dI maT 234 239 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 231 232 253 254 255 256 257 258 259 00ea 00eb 00ec 00ed 00ee OOef UO oofl 00f2 0013 00f4 00f5 00f6 O0f7 00f8 0019 00fa O0fb OOfc OOfd OOfe ooff 0100 0101 0102 0103 ecircumflex edieresis igrave lacute icircumflex idieresis eth ntilde ograve oacute ocircumflex otilde odieresis divide oslash ugrave uacute ucircumflex udieresis yacute thorn ydieresis Amacron amacron Abreve abreve E Ch r Nu n Tk b Qm a Ph co Ph c mi o zo MW Ch oe Ck 6 C d De Ce 260 261 262 263 264 265 266 267 268 269 270 271 272 242 274 275 276 277 278 279 280 281 282 283 284 285 0104 0105 0106 0107 0108 0109 010a 010b 010c 010d 010e 010f 0110 0111 0112 0113 0114 0115 0116 0117 0118 0119 Olla 011b Olic 011d Aogonek aogonek Cacute cacute Ccircumflex ccircumflex Cdot cdot Ccaron ccaron Dcaron dcaron Dslash dmacron Emacron emacron Ebreve ebreve
25. Rose e CompuServe 70210 5063 Applelink EX MACHINA 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 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 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 Adobe Type Manager ATM The program that improves your screen font display by eliminating jagged edges on Type 1 fonts Baseline The line upon which the letters of a font rest Basepoint Fontographer s reference point from which distances are measured and about which the special effect transformations may be performed BCP Bezier Control Point One of two points which guide a B zier curve Bezier curve Mathematical equations commonly used to describe the shapes of characters in electronic typogr
26. There are no special tools to do this you ll have to do it manually by highlighting position 256 and then selecting Next char from the View menu to add characters above 256 Fontographer 4 1 for Mac has a built in Unicode font encoding option that allows you to paste glyphs into 2 147 pre numbered Unicode slots This makes life a lot easier for those who are using standard systems such as Cyrillic 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 Option copy 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 That means you can quickly and easily 1mport graphics without having to launch other applications Is the process of font generation still the same Pretty much but there are some additional options To make font generation more approachable we have divided the dialog box into two modes Easy and Advanced Most of the time you won t want to be bothered with all the choices and specifications possible for fonts The Easy mode has everything that is usually required In the Easy mode simply choose the computer of interest Macintosh or PC what sort of font to output PostScript Type I TrueType etc what bitmap sizes you want if any and w
27. and BoldItalic in all sizes Fill In Fontographer the degree of black within characters You can only specify the degree of fill for Type 3 fonts Flex A means of automatically suppressing small details such as cupped serifs that would print poorly at small sizes At large sizes or high resolutions the details are automatically reinstated Applies only to Type 1 fonts FON Windows bitmap font format FOND FONt family Descriptor FONDs define the relationship between a plain Macintosh font and its styles such as Bold Italic and BoldItalic The FOND groups a family of fonts and contains the family name the style and size as well as metrics information like fractional width tables and kerning tables FONT Old Macintosh bitmap font size resource name See NENT Font In modern usage the term font 1s often confused with typeface and family Traditionally the term font represents a complete set of characters or symbols which share the same size and style For example 12 point Goudy Oldstyle Bold 1s a font Fonts can be as small as the basic alphabet or up to hundreds of characters Some languages like Japanese can exceed these numbers which make them more difficult to access from the standard keyboard Originally derived from the word found as in typefoundry Font attributes Characteristics which apply to the font as a whole such as the ascent descent leading etc Font Window The
28. but not your font in use Revert Restores your font to the last saved version on the disk throwing away any changes you may have made since you last saved it You can revert from any window Preferences By selecting Preferences you can alter the default settings for Fontographer The settings that you can change cover many aspects of the program from the number of undo s allowable up to 101 to how points display large or small with or without BCP lines etc editing behavior of lines 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 You just choose the computer type and the type of font to output the bitmap sizes and where you want the generated files to be placed Fontographer no longer creates AFMs unless you specifically ask for them in the Advanced mode The Advanced mode includes several other choices including encoding vectors outline font IDs etc Import Importing bitmap fonts EPS or Metrics into a font file 1s a simple matter using the Import item in the File menu Just choose one of these three options from the submenu and import fro
29. 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 amp tip Things you should know about Style Merger Style Merger won t prevent you from choosing incorrect faces for particular styles For instance you could be a wise guy and tell Style Merger to use Nova Bold for the italic face Your family will work just the way you set 1t up but 1t would be a little confusing It could be called a dysfunctional family or one that boldly goes where no italic has gone before Important Please do yourself a favor and always make sure the fonts you use to build families with are not installed Always close any fonts installed with Suitcase Master Juggler Font Porter or whatever you installed them with then build your family and reinstall your fonts If you are using Style Merger and notice that the little suitcase 1cons change from capital A s to B s that means that the font you have just chosen was already installed In technical terms you are hosed at this point and you may have to restart your Macintosh If you have never heard of Suitcase or Master Juggler or installed fonts then don t worry you most likely will not encounter this situation Never try to open fonts that are in your System Folder Adobe Type Reunion ATR compatibility Style Merger builds a completely functional Macintosh font family there 1s only one entry in the fon
30. 00b5 y Z braceleft c bar braceright asciitilde exclamdown cent sterling currency yen brokenbar section dieresis copyright ordfeminine guillemotleft logicalnot registered overscore degree plusminus twosuperior threesuperior acute mul tes Dee mM P BY e o de n Di Di m 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 00b6 00b7 00b8 00b9 00ba 00bb 00bc 00bd 00be 00bf 00c0 00c1 00c2 00c3 00c4 00c5 00c6 00c7 00c 00c9 00ca 00cb 00cc 00cd 00ce OOcf paragraph middot cedilla onesuperior ordmasculine guillemotright onequarter onehalf threequarters questiondown Agrave Aacute Acircumflex Atilde Adieresis Aring AE Ccedilla Egrave Eacute Ecircumflex Edieresis Igrave lacute Icircumflex Idieresis Oo GR o o Oz D e c MR Gi coc c N E Cb 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 221 228 229 230 231 232 233 00d0 00d1 00d2 00d3 00d4 00d5 00d6 00d7 00d8 00d9 00da 00db 00dc 00dd 00de 00df 00e0 00el 00e2 00e3 00e4 00e5 00e6 00e7 00es 00e9 Eth Ntilde Ograve Oacute Ocircumflex Otilde Odieresis multiply
31. 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 pl An excellent contemporary book that shows by copious examples the subtle differences in relationships between typefaces letters and spaces From the preface This book systematically trains designers to make these fine discriminations with the aim of specifying text type that 1s not only readable but also beautiful and expressive Highly recommended Introduction to Typography by Oliver Simon London Faber amp Faber 1945 Not a bad place to start This edition is out of print but there has been at least one reprint in recent years Simon s introduction is designed for the layman and discusses many of the basic principles and theories of designing with type First Principles of Typography by Stanley Morrison Cambridge at the University Press 1951 An important book from the man who designed Times Roman for the London Times Asymmetric typography by Jan Tschichold Translated by Ruari McLean New York Reinhold Pub Corp 1967 94 p illus part col facsims Jan Tschichold 1902 1974 a well known typographer caused many people to rethink conventional theories of typography when this seminal work was published in the mid 60s Whether or not y
32. Both outline fonts and bitmap fonts may be downloaded into RAM so your computer is able to print documents using bitmap fonts when the outline font is unavailable However the process is very slow due to the way bitmap fonts are used Downloaded fonts can further be divided into two classes permanent and transient Permanent fonts Permanent is a misnomer here since the permanent fonts are only semi permanent Unless you have a hard disk attached to your printer permanent fonts are downloaded once and remain available until the LaserWriter is turned off If your printer does have a hard disk attached you can download your fonts permanently to the hard disk Permanent fonts are good for those installations which do a considerable amount of processing using just a few frequently used fonts and don t want to incur the overhead of downloading them with each printed document 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 Macromedia recommends that you use transient fonts in most cases The download time is insignificant when compared with the problems caused by fi
33. E H E bass musa um E li Time for a pop quiz What encoding do Sun fonts require What em square does Quark M Win prefer for TrueType fonts What happens in NEXTSTEP installation if you have no AFM file If you are unsure of the answers to these questions then use the Easy option and let Fontographer make the best decisions for your fonts You experienced readers dive right into the Advanced dialogs and wade up to your armpits in the technical stuff if you get stuck then your experience will rescue you If even that fails then contact our Technical Support group If your time is a terrible thing to waste then you should also take advantage of the Easy option in the Generate Font Files 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 Note 3 Choose the bitmap sizes if any 4 Setthe folder into which you want the font files saved 5 Decide whether you want to overwrite existing files with the same name Fontographer will then decide the sticky issues for instance if an AFM file should be generated for the NeXT fonts yes or which encoding to select for Sun fonts ISO Latin 1 or even how to set up the em square for Windows TrueType fonts 2 048 This is all the information necessary to use the Easy mode The rest of this chapter covers the more complicated s
34. Note 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 Hexadecimal The Hexadecimal item shows hexadecimal base 16 values For example A displays as 41 Octal The Octal item shows octal base 8 values For example A displays as ol01 Width The Width item shows the character s width in em units Em units are not related to point size or any other physical measurement Left sidebearing The left sidebearing mode shows the measurement of the character s left sidebearing the distance between the origin line and the left edge of the character s outline in em units Right sidebearing The Right sidebearing mode shows the measurement of the character s right sidebearing the distance between the width line and the right edge of the character s outline in em units 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 Outl
35. PostScript we haven t been able to detect it Common stems Changing these fields 1s useful for PostScript Type 1 and TrueType fonts These fields are calculated by examining all the stems in the font and finding which widths are the most popular 1 e occur the most These values appear here and get output in the PostScript font as StdHW StdVW StemSnapH and StemSnapV See the Adobe Type One Font Format book for more information on these fields To 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 What happens when Fontographer opens up PostScript Type 1 fonts When a PostScript Type 1 font 1s read Fontographer always keeps the hints that were defined as part of the font Each character 1s marked as having user edited hints This lets you generate a Type 1 font and still leave the original hints unchanged Before generating a TrueType font however you should select all characters and choose Autohint from the Hints menu so serif and diagonal hints can be found This will remove the original stem hi
36. Telling your system about your new font is the final step toward this goal The manner in which the system is made aware of the font depends totally upon system configuration and computer platform We will examine the specific steps for each platform If your pulse is getting rapid then think on this and be thankful you only need to install a font once to make it usable in all the programs on your computer Installing Macintosh PostScript fonts Macintosh PostScript fonts consist of two parts a PostScript file which is sometimes known as the printer font MovaNor and a bitmap file which is sometimes known as a suitcase file because it looks like a little suitcase Mov a Mormal brmap 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 Fon DA Mover on the Utilities 2 disk which came with your Macintosh system software 1 Quit all open programs You can t make changes to the System file while programs that use fonts are open Drag your font s PostScript file into your System Folder making sure that you do not put it inside any other folder within the System Folder Double click on the bitmap file to start Font DA Mover When Font DA Mover is active look at the number in the top left section of you
37. The character Name textbox allows you to change the name of the character but be warned that doing so will also change the type of encoding your font uses if the current type does not include a slot with the name you select Fill If the Fill box is checked you can change the percentage of black with the Tint option 100 1s black 0 1s white The Normal fill will fill between paths that are alternately clockwise and counterclockwise and can be seen in Preview The Even odd fill will fill between every even odd pair of paths starting with the outermost path Stroke If the Stroke box 1s checked you can change the percentage of black which fills the stroke with the Tint option 100 1s black 0 1s white Weight The Weight option allows you to change the thickness of this individual character s stroke from the default set 1n the Font Info dialog Cap and Join In this dialog the Cap and Join options are for stroked fonts The Cap options determine the shape of the endpoints of a stroked path The Join options determine the shape of joins along a path Point Information The Point Information dialog appears when you select a point in the Outline Window and choose Selection Info from the Element menu Point Information lets you change the location of a point horizontally and vertically or designate it the first point in the path You can also alter the position of its BCPs or you can return the BCPs to the
38. The curve point tool 1s used to create curve points and join curves to other curves smoothly The curve point tool can be selected by clicking on its indicator When the lock icon is in the locked position the numeric keypad equivalent for choosing the curve point tool is 8 Basically if a series of curve points 1s 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 1s 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 The corner point tool can be selected by clicking on its indicator When the lock icon is in the locked position the numeric equivalent for choosing the corner point tool 1s 9 When you select a corner point Fontographer displays the point as a hollow square You can change an existing point to a corner point by selecting Corner Point from the Points menu rip Tangent points The tangent point tool is used to connect straight lines to curves with a smooth tangent join Tangent points may also be used to connect straight line segments together You can select the tangent point tool by clicking on its indicator When the lock icon is in the locked position the numeric keypad equivalent for choosing the curve p
39. When the lock icon is off you can change characters simply by typing in the character Command or Ctrl Changing point sizes K To select the Next or Previous bitmap point size choose one of these menu items from the View menu Command or Ctrl will give you the next point size up Command or Ctrl previous point size will give you the Metrics Window The Metrics Window displays the metrics for characters you type into the textbox at the top left Here you can edit widths sidebearings and kerning pairs for those characters Underneath the characters 1s a table that displays the numerical values in em units that apply to each character and its kerned pair Changes to the kerning and width show up in the table below the screen area Width 1s the distance in em units between the origin point and the width line Kern is the number of em units negative the character on the right overlaps or is pushed away from the character on the left positive You can change kerning distance left and right sidebearings and width by changing the numbers in the table or by using the kerning and sidebearing lines for each character You can close all open Metrics Windows by Option or Alt clicking on the close box of any open Metrics Window Any open Bitmap or Outline Windows will remain open The keys to using the Metrics Window are The Tab and right arrow keys allow you to move between slots from left to right T
40. a move tool The lock icon in the lower left corner has two functions When the lock 1s 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 The Info bar at the top of the Bitmap Window shows you the character s ascent descent offset and width values as well as listing the horizontal and vertical location of the cursor in pixels These features give you the ability to precisely measure distances when you create a character An actual point size image of the character is displayed in the top left corner The Recalc from outline button allows you to recompute a new pixel image based on the character s outline This button called From outline on the PC is useful when you have edited a particular outline character and don t want to recalculate the entire bitmap font For more information refer to Recalculating from outlines later in this chapter Editing a bitmap To make changes to a bitmap 1 Select the A in the Font Window Choose Open Bitmap Window from the Windows menu Vhis Vom d deri kres sg ra sei Fini yer Fir kurir imm ims If you are opening a font for the first time you probably won t have any bitmaps associated with it Fontographer will ask you 1f you want to generate any Click Yes T
41. backslash bracketright asciicircum underscore quoteleft a Z braceleft bar braceright asciitilde notdef dotlessi grave acute 46 4 48 57 58 59 60 61 62 63 64 65 90 91 92 93 94 95 96 97 122 123 124 125 126 127 143 144 145 146 Ch circumflex tilde macron breve dotaccent dieresis notdef ring cedilla notdef hungarumlaut ogonek caron space exclamdown cent sterling currency yen brokenbar section dieresis copyright ordfeminine guillemotleft logicalnot 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 ba D De De De hyphen registered macron degree plusminus twosuperior threesuperior acute mu paragraph periodcentered cedilla onesuperior ordmasculine guillemotright onequarter onehalf threequarters questiondown Agrave Aacute Acircumflex Atilde Adieresis Aring AE 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 rm rm pm m rm nm x3 HA DO 0 C Zi Ci dp E due ve x9 Xx gt p m Ccedilla Egrave Eacute Ecircumflex Edieresis Igrave lacute Icircumflex Idieresis Eth Ntilde Ograve Oacute Ocircumflex Otilde Odieresis multi
42. be 120 66 rather than things like 120 223 65 97 Snap to distance specifies how close something has to be before a snap will occur For instance if Snap To Point is on this preference states how close in pixels the object you re dragging has to be to another point before it automatically snaps to that point If you are having trouble moving points around because they seem to be snapping to everything too often try using a lower value in this field Behavior of Snap to Point Defers al uaa le fi T hob sigo da et a ori r KT pas Pac Da aby sipi wilh perni 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 1s 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 2 50 y 100 In the Only snap to the closest point mode you will snap to that point only when the point you are dragging comes close to 50 100 In the Automatically align with all points mode however the point you are dragging will snap anywhere along a vertical line at x 50 or anywhere along a horizontal line at y 100 When a path is clicked on This influences what happens when you click and drag the mouse
43. between the origin and the left edge of the letter T pictured above The width indicator shows us the width of the character in pixels The T is 13 pixels wide Visible layers You can choose to display or hide guidelines in the Bitmap Window by typing Option G or G on the PC The guidelines you will see are the ascent descent and baseline of the font Use them in the Bitmap Window as a drawing aid To display or hide the Outline layer type Option O or O on the PC The outline is visible behind the bitmap and you can use it as an aid in bitmap editing but no changes to the Outline can be made in this layer Changes to the outline character will however display in the Bitmap 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 rip d y rip When the lock icon is in the locked position access the straight line tool by typing 1 The hand tool is used to move the screen in any direction by clicking on the window and dragging The hand tool scrolls the entire character window Move the bitmap image around to an optimum screen position before you begin to edit it You ll need to
44. 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 0 or later versions with the help of Adobe Type Manager While PostScript fonts can be used in non Windows environments they are not directly supported TrueType fonts require Windows 3 1 or later versions which has increased functionality in its Control Panel to enable TrueType font installation There is a difference in the implementation of PostScript and TrueType fonts in Windows but they do have one similarity neither depends upon a bitmap file for the screen image Installing PostScript fonts in Windows 3 x or higher with Adobe Type Manager 2 x Installing PostScript fonts in Windows requires that you have Adobe Type Manager ATM 2 0 or later versions Windows 95 requires ATM 3 02 or later ATM creates screen fonts from the PostScript outlines and allows you to print your PostScript fonts to any printer attached to your Windows computer PostScript fonts in Windows consist of two parts a PFB file PostScript Font Binary and a PFM file PostScript Font Metrics Both files are necessary Make sure you have generated both files from Fontographer before proceeding 1 Note 4 Double click on the ATM Control Panel icon in the Program Manager to start it Li mT The ATM Control Panel displays
45. check the black image in Preview readjust If you draw an o that you think works 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 T 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 But don t be too perfect or you ll be making something more akin to a text typeface Let every rounded form vary just a little bit from every other one let the ascenders lean a little but not so much that it is obvious This is a subtle way to add life to your font Continue building characters until you have enough to write a word in the Metrics Window and to print out some word like gibberish from the Print Sample window Take the printed proof and look at it upside down What s your first impression of the weight of the letters Turn it right side up and look again How do the letters look together Do they look related in their stroke widths sizes leanings If not try to pick out the offending characters and rework them to fit into the family a bit better How s the spacing Move the margins in the Metrics Window until you get a pleasant spacing particularly in smaller sizes Third method with drawing tablet You ll be do
46. 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 Menus File This button allows you to load text from a file into the textbox and display area Click on the up and down arrows beside the file button to scroll vertically within the file About Fontographer Note This dialog shows you information about your current set up You can see the version number below the program title Click in the window to make it disappear The File Menu New Font In Fontographer when you select New Font you automatically open a new Font Window The default values for font attributes will be 1n 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 If you have made changes and close the Font window Fontographer will ask you if you want to save your changes Save Saves any changes you have made since opening the font Save As Allows you to save your file with a different name
47. classes but watch out this can get confusing really fast If you include the base character in the Apply to these characters field of that same class it will be recognized as a circular reference and automatically removed when the dialog is accepted If you set up Note mutually exclusive classes which 1s legal to do but not recommended the class furthest down in the dialog will be the one which takes precedence Kerning Assistance Kerning Assistance 1s a lot like Metrics Assistance and 1s 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 Here is how the Kerning Assistance dialog looks with a sample kerning equivalence class already entered mmm g Just like in the Metrics Assistance dialog Insert Line and Delete Line allow for intuitive grouping when relating characters to one another The first column of equivalence classes are those characters which kern the same when they are the first character of a kern pair In other words they will each get all the same kerning companions that the others have for instance if the font has the two kerning pairs Te and Wy it will have the four pairs Te Ty We and Wy after the above class takes effect In this example it has been declared that all kerning pairs which begin with T automatically have
48. customers Don t feel obligated to deal with the Advanced mode unless you want to it usually isn t necessary Auto Kerning Since we have taken the pain out of spacing a font you might assume we did the same for kerning a font and you d be right Auto Kerning does a very good job of creating kerning pairs automatically for your fonts Like Auto Spacing it has two modes Easy and Advanced Easy mode Auto Kerning has a bit more to specify than Auto Spacing but it is still pretty simple al riq ha mi a Ier bna rara rra par in rar Bb mami arsi a S E ile mis Um pm Enne rk m in brir vm Lo Vaia Tara AA AEREA aa a emar rais l a rd pint To Auto Kern in the Easy mode 1 Choose Auto Kern from the Metrics menu 2 First you get to decide how many kerning pairs should be created You can either choose As many as it takes or you can set an upper limit on how many should be created This is a personal preference some people like to have only 100 or 200 pairs in a amp rip font others don t care We recommend limiting the number of pairs to 1 000 or so 3 Next choose a setting for how close together you want the kerning pairs to be This control is a lot like the one in Auto Spacing only for kerning 4 Finally there is a checkbox for changing existing kerning pairs This is useful for when you have manually set some special kerning pairs and want Fontographer to do the rest without cha
49. dialog boxes rip rip Sometimes you will be examining a font whose characters are wider or narrower than the cell widths in the spreadsheet area and so the character and its spreadsheet view will no longer be vertically aligned This doesn t affect the functioning of the spreadsheet however it can sometimes look confusing To correct this simply Option or 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 If you don t want to fiddle with tables of numbers feel free to completely ignore the spreadsheet On the other hand be aware that some of our more production oriented font development people have told us that they can create between 400 and 500 kerning pairs an hour with their hands never leaving the keyboard So see which method works best for you and don t worry about the other E uum gs milis hes Bertha Dertna Importing Metrics When you open up an existing PostScript font Fontographer automatically includes its spacing information because it 1s located in the PostScript file So the character widths and offsets which appear in the Metrics W
50. do this if your characters are too large to fit into the central edit area When the lock icon 1s in the locked position you can access the hand tool by typing 2 The pencil tool lets you place or erase pixels with a click of the mouse When you place the pencil above the pixel and click the bit will change from black to white or vice versa You can either drag or click with the pencil Clicking draws just one dot Dragging produces a black or white series of dots Holding the Shift key down while dragging constrains drawing to a 45 degree line a vertical line or a horizontal straight line When the lock icon 1s 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 Coit Rx a When the lock icon is in the locked position you can access the eraser tool by typing 4 The marquee selection tool is used to select and move pixels If the marquee is present pasted bits will be scaled to fit within it You can paste bitmap images into the marquee area To de select the marquee area click anywhere outside the central edit area or press the Tab key When the lock icon is in the locked position you can access the marq
51. equivalent counterparts for W and so on When more than ten classes have been entered a scroll bar will appear to the right of the column to allow for the creation of additional classes The second column of classes are those characters which kern the same when they are the second character in a kerning pair So in our example any kerning pairs which end in a automatically have equivalent counterparts to those ending in o and vice versa The Link all checkboxes perform a function similar to what 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 loWa When we apply this set of kerning equivalence classes accepting the dialog by clicking OK produces this Fontographer has made the To and Wa kerning pair values equivalent They are both now set at 150 In addition Fontographer has also created the Ta and Wo kerning pairs below Ja wo In summary we began with To 150 Wa 100 We ended with To Wa Ta Wo 150 Since the characters were all linked they all became equal Next let s explore what happens when we change the status
52. fonts is what we named our fonts directory bldafamily d This tells the system to read those fonts again Now you have one less font in your font list If you d really rather remove an entire font directory from the font path type this xset fp fonts This removes the fonts directory from the font path That s enough to get your font out of the system If you REALLY want to know more check your OpenLook documentation Removing fonts from OS 2 2 0 Note p PP NS eo N Open the 09 2 System Open the System Setup Open the Font Palette Select Edit Font The Edit Font window appears Select Delete Select the names of the font files that you want to delete from your system Select Delete When the files have been deleted point to the title bar icon and double click Chapter Ten Expert Advice General Preferences Font Blending Font Hinting Using a Resource Editor Customizing Sounds The Preferences dialog 1s 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 Items chosen in Preferences are remembered so the next time you run Fontographer your customizations will automatically remain set Choose Preferences from the File menu A dialog wil
53. fonts and printer fonts 1s getting blurred There was a time when they were both represented by individual files But in the present day of Adobe Type Manager the TrueType page description language Display Post Script and NEWS every platform we support can render the outline file to both the screen and the printer So does that mean we never have to deal with bitmaps again Not really Think about your screen image It is represented by a lot of pixels each either turned on or turned off When the font 1s rendered to the screen the font display driver maps out the bits it wants turned on That is essentially a bitmap created on the fly Now consider the printed image What is the resolution of your printer Most laser printers print at least 300 dots read bits per inch Thus in one letter size page the particular page description driver determines which of the 8 145 000 dots 1t wants on the ones turned on attract the black toner the others don t But before the page is printed the intelligent printer has mapped out each bit and saved the page in RAM as a bitmap image You can imagine how much memory that 300 dpi bitmap can consume While bitmap font files are rapidly becoming obsolete bitmaps themselves whether they are screen images or page descriptions are always with us Understanding their relationship will enable better use of fonts in general Fontographer 4 1 generates three varieties of bitmap font
54. in the Generate fonts dialog This ID 1s the numeric handle by which the PostScript interpreter references the font cache images If you temporarily change the number of the outline ID to zero 0 then the interpreter will not cache any of the characters of your font and you won t have this problem Be sure to restore the original outline ID or any random number between 4 000 000 and 4 999 999 when you re finished with the font and are satisfied that you won t be making any more changes Another way to get around this 1s to flush the font cache after each iteration of your font by either turning the printer off for a few seconds then turning it back on for printers without hard disks or by using Adobe s Font Downloader 4 x or later which can get rid of the font cache on a printer that has a hard disk The LaserWriter If 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 Type 3 fonts are bigger slower look worse in very small point sizes and at low resolutions up to 600 dpi and don t work with ATM About 99 of the time you will want to create Type fonts I need to exactly duplicate a font wi
55. 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 ts stored in STR 400 It is a large resource so large that ResEdit can t open and edit it in the template view If you want to edit 1t be extremely careful or your other encodings will not work correctly We strongly recommend against making any changes to STR 400 It s better to make further changes to the specific character in the Character Info dialog 12 When your font is ready to generate just choose Generate Font Files from the File menu and select your custom encoding from the encoding pop up Setting Developer IDs If you are a font developer who has been issued an unique developer id by Microsoft then we have provided a means for you to hard code that 1d into Fontographer by editing the STR 5140 resource Open the resource in ResEdit The fourth string 1s the TrueType Vendor Developer id The default selection is MACR This 1s the ID Microsoft supplied to Macromedia Replace the Macr four character string with your own unique vendor id Customizing Sample Text printout Yet another ResEdit trick 1s to edit the STR resource to change the font used to label coordinates in the character points and coordinates printout If you have noticed that the coordinate locations
56. in this manner Fontographer even though it 1s running on a Macintosh will not use the Macintosh standard character encoding It is instead going to use the character ordering of the Adobe Standard encoding For most of the alphabet and normal characters you won t notice a difference If you choose a from the keyboard a 1s going to get highlighted in the Font Window However if you press Option 2 the quotedblleft character will get highlighted instead of the expected trademark character which Macintosh users expect to get when they key in Option 2 This is because Option 2 from the keyboard maps to character number 170 and character number 170 in the Adobe Standard encoding 1s not trademark like it is in the Macintosh encoding but is quotedblleft To get trademark when you type Option 2 change the preference so Fontographer will use the machine specific encoding vector Note The main point of all this is unless you are doing a lot of cross platform font development or have some other reason to be messing with different encodings keep this preference set to use your computer s encoding vector That way you ll get what you expect When reading an outline font Before reading this section read the previous section called Using the keyboard to choose a character These two preferences are very closely related Essentially this preference item allows you to either see the f
57. is a single rectangle you don t have enough figures to connect Fontographer would complain that the number of paths didn t match Note tip rip tip A more subtle error occurs when the two figures have the same number of points but the points don t correspond well Consider the case shown in Figure 1 but where the outer rectangle had four points inserted into the line from point 1 to point 2 and the inner rectangle had four points in the line from point 3 to point 4 Even though the point count is the same the points don t correspond in a way that will give a pleasant result To make characters interpolate more easily Fontographer reorders the points and the paths if you check the Correct path directions check box If you correct path directions on all characters of each font you are trying to interpolate Fontographer will almost always arrange the points so that they match up and interpolating will give you the right result On rare occasions due to the way some characters might have been drawn you can confuse Fontographer s point ordering technique If this occurs you will know it from the heinous interpolate results characters will appear 1mploded or turned inside out like the proverbial font in a blender Those cases will require manual point reordering with the Point Information dialog Select a point on the character choose Selection Info then move to the next or previous point until you are at the des
58. m MEA mm m Iv i Es D Leg P ie This makes a family with the bold font as the base font and the bolditalic font as the italic style We don t add any more fonts here because there isn t a bolder version of the bold nor is there a boldbolditalic 2 Simply choose Save Family and keep the name PetesFont Bold fam This builds one of the subfamilies 3 To build the other subfamily choose PetesFont Italic as the Plain style and then PetesFont Boldltalic as the Bold and create a family called PetesFont Italic fam This builds the other subfamily Now you are ready to build the main family which links the bold italic and bolditalic with the plain 4 Run Style Merger on the PetesFont fonts as described in the initial example with the Nova family This is the main family so save the family with the name you would like to see in the font menu Important In Step 4 make sure you use the bmap files rather than the fam files this is an extremely easy mistake to make if you re not careful The final step involves ResEdit What you want to do is merge the three families you just created and the bolditalic 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 1s easy to do in ResEdit just launch ResEdit open up these four files and copy and paste the FONDS from
59. made up of one or more characters Most commercial fonts have some commonly used ligatures like and ce 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 SES Move the new f to the right Go back to the Font Window Copy the I into the same window using the Copy Reference command from the Edit menu Move the referenced I to the right of the second f Choose Unlink Reference from the Edit menu Choose Remove Overlap from the Element menu Changing the character width You probably noticed the vertical line that runs through the second f This is the character width line Width is a moveable vertical line which specifies the width of each character Width is covered in more detail in Chapter 5 When you print a line of text the origin line of the next character 1s placed on top of the width line of the current character Since you changed the contents of this particular Outline Note rip 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 selectio
60. magnify and Fontographer will zoom into the area enclosed by the box You can also use this method to zoom out by holding down the Option or Alt key Perspective tool The Perspective tool works in conjunction with 3 D rotate to apply 3 dimensional rotations to 2 dimensional objects while still maintaining perspective Option or Alt double clicking on the tool brings up the Perspective Setup dialog where you can set the Perspective Distance and select a Perspective Point of Basepoint Center of selection Character origin or Mouse click Double clicking on the tool brings up the Transform dialog ready to apply a 3 D move transformation Arc tool The Arc tool allows you to create one fourth of an oval and arc like shapes Double click on the tool to access the Arc Tool Setup dialog where you can choose to create Open Flipped or Concave arcs You Note can also create different types of arcs without changing the Setup dialog by using modifier keys Hold down the Command or Ctrl key while creating a new arc to toggle between creating an open and a closed arc Hold down the Option or Alt key to flip the arc both horizontally and vertically The Caps Lock key toggles between creating a convex and a concave arc To constrain the arc tool to create quarter circles hold down the shift key The Option or Alt key is the demagnified move modifier key By holding down Option or Alt when you create a new arc you can increase decrease the siz
61. meant to attract attention Display type is bold and heavier than text type because it 1s used in larger point sizes More often display type is highly stylized to the point where it is unreadable in small point sizes Em square Each character 1s described in terms of a rectangle called an em square The em square 1s the outer square around the letter This square is so named because it is nominally as wide as the letter M and the same height Face A face typeface 1s a complete set of characters that 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 The Goudy Oldstyle family used in the text of this manual consists of four fonts Goudy Oldstyle Plain Goudy Oldstyle Bold Goudy Oldstyle Italic and Goudy Oldstyle BoldItalic Font A font derived from found as in typefoundry of type is a particular style of type in one body size and one style of face For Windows the distinction between fonts and faces 1s not always straightforward Since the distinction between face and font is not clear we feel justified in using the term font to
62. most respected and creative typographers and type designers of the century who created not only the Dingbat and Zapf Chancery fonts but also Optima Lydian and many other faces Manuale Typographicum is a breathtaking tour de force consisting of 100 broadsides about type design in a wide variety of faces and styles Superb as a source of inspiration and example Herman Zapf and His Design Philosophy by Herman Zapf Introduction by Carl Zahn New Haven Yale University Press 90 color plates While the Manuale shows the master at work this volume is a discourse on Zapf s insights into type design An excellent book Edward Johnson by Priscilla Johnson New York Pentallic 1976 This biography of the twentieth century s most important calligrapher written by his daughter traces his career and influence Unlike many printing books this one is a delightful read Of the Just Shaping of Letters by Albrecht D rer New York Dover Publications 1965 reprint of the Grolier Club translation of 1917 Originally part of D rer s theoretical treatise on applied geometry here is the source for those famous capital letters set against a gridded background Champ Fleury by Geoffrey Tory translated into English and annotated by George B Ives New York Dover Publications 1967 reprint of the Grolier Club translation of 1927 Similar to the D rer book but this 1s the one with the letters shown against naked human bodies in additi
63. oe Joy i FAN eb Th 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 The first line 1s for setting absolute values You can set character s attributes equal to those of a different character or equal to a specific value You can then add or subtract either an absolute value or a percentage For example you could set the left sidebearings of A and A equal to the left sidebearing of A plus five percent The second line 1s for relative changes This line allows you to increase or decrease the selected attribute by either a number of em units or some percentage Important You can absolutely trash your font metrics in no time at all with Set Metrics In software interface design there is a trade off between really powerful commands and really safe ones Since we re in the advanced section now all the commands err on the side of being frighteningly powerful For this reason we advise you to Save or Save As your font before doing lots of Set Metrics commands so you can Revert if something doesn t work out Assisted Metrics Assi
64. of the Link all checkboxes We ll start again from scratch with just these two kerning pairs loWa 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 lawo Note that this time the values of Ta and Wo are not the same In summary we began with To 150 Wa 100 We ended with To Ta 150 and Wa Wo 100 This class sort of says anything with o will be equal to that same anything with a Now let s try one more permutation We ll again start from scratch with our trusty old To and Wa pairs loWa SS Now we ll unlink a and o but link T and W That gives us these two classes When we apply this set of classes it again does nothing to the To and Wa pairs However Fontographer did go ahead and create the Ta and Wo pairs TaWo 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 c
65. old style numerals superior and inferior characters and special text symbols You would want to use this option only if you are creating an expert font set ISO Latin I is the encoding preferred by most UNIX based systems Select this option if you are generating a font for Sun Computers Macintosh encoding lets you use your font on a Macintosh and maintain keystroke compatibility with other Macintosh fonts This 1s very similar to Adobe Standard Encoding but it will put something in every spot assuming you have enough characters for that and won t substitute the symbol characters Also characters can appear in the lower 32 slots Windows lets you create a Windows 3 1 PostScript or TrueType fon On the PC you also have the option of Windows 95 Windows Unicode Glyph List Uni code Glyph List on the PC gives you access to the full character set for Windows 95 Your database will change to the appropriate size 2 147 on the Macintosh and 1 267 on the PC and you can begin filling your character slots with characters from Greek Cyrillic Hebrew Arabic Eastern European and other languages OS 2 Unicode Glyph List gives PC users access to the full OS 2 Note character set OEM encoding is a pretty plain encoding vector that lists 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
66. on an actual path 1 e the line between the control points as opposed to clicking on one of the points What you would expect to happen in this case depends upon your prior drawing program experience EUw aa F B ee sx n MAFIA RH diig Se Bal E YER A A IEE ee Do nothing is a good setting if you want to prevent yourself from modifying a path by clicking on it accidentally Select and drag the path is a Macromedia FreeHand style operation If you want to move an entire path this preference allows you to do so merely by clicking on it with the mouse and dragging it around This can also be accomplished as in previous versions of Fontographer by double clicking on one of the points and dragging the path around by a point This allows you to edit the path without having to click on control points or BCPs simply click directly on the path and drag This 1s especially fun to do in Preview mode with the points turned off This is a very exciting path editing feature but it makes it easier to accidentally modify paths yo Select and edit the path is more of an Adobe Illustrator style edit Point display LI da EAT pin ei E siii CP linea E2Hdne ite Sira pain esa hi pari Milite Ib FIEL A rn poli ES Hina ad par poro thai siria l fel paid a ao AA Degas border progr polis dera in Fre pie pp reads Daer lados Zar ko eg F Wonk i gd niil i fos misi peii The picture area at the top of this dialog box is the m
67. programs You can t make changes to the System file while programs that use fonts are open Drag the suitcase file s containing your font s on top of the System folder and release the mouse button E The System will ask you 1f you want to install the fonts h Furio reed ta Er rise in fe Tun ie fie iE arp T3 Dee dile Leite PH apyu Ui Ful These P di mila The tpe Heg Click OK to start the installation process The System incorporates your suitcase file and installs your fonts Your font is now installed The font name will appear in the font menu for each application that has a font menu Installing TrueType fonts in System 7 1 or later System 7 1 simplifies font installation even more than previous versions and doesn t cause the suitcase file to disappear 1 Drag the suitcase file containing your font on top of the System folder icon and release the mouse button The System will ask you if you want to store your fonts in the Fonts folder T Ia med hio kr skirl ii Ee Tih Pes Ch mw erir in r dr im hr i nm rm kasi Fam simum ir rer meme mcn 2 Click OK to install your fonts The System moves your suitcase into the Fonts folder 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
68. roman characters can be described in fewer than sixty points Clean Up Paths makes sure your characters include the optimal number of points Images that are imported or pasted into the Template layer are automatically sized to fit the em square To maintain the original size of the image when pasting into the layer hold down the Option or Alt key when you paste or import the image The size of the 1mage you see depends on the magnification level in the window Open a line by using Option or Alt knife to click on a point and remove the section of line between the adjacent points on either side of it You might do this to open a sans serif character so a serif foot can be glued onto it Topull a BCP out of a point select the point press the 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 Some guidelines to keep in mind i Sg 24 me a I nm D TI Kette Er m m H ara ES ni len DL wei zi Hemm m ae n ali mera dii Fp m sampa m s T Ei l ina lul Tg E LLELE _ bis di re immu jig I i m B Mamm fom giles Deom Technically the O and th
69. the Metrics menu amp tip 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 However Fontographer also has a you asked for it you got 1t metrics area where we bring out the heavy duty stuff These commands are by and large not particularly intuitive unless you already have a solid background in typography The vast majority of our users will be able to do everything they need to do just splendidly by using the other tools So we really advise most people to sort of ignore this stuff the signpost in the Wicked Witch of the West s haunted forest I d turn back if I were you applies here But if you insist feel free to explore the bleeding edge in computerized font metrics Consider yourself forewarned Set Metrics Set Metrics 1s the funny uncle of Set Width In addition to the width you can set left and right sidebearings as well You can apply values to specific sets of characters and there are lots of controls for incrementally increasing and decreasing various fields Here is what the Set Metrics dialog looks like SLeilu rtreeze F wb sikesmumrimq UE por B 2nacar eric Ez i scr DR Punrinatinr Fa semi fass SL er ea o s Canad kal te da a z mE 5rk agua da jam cedar SU A OR sili Vis i h
70. the bitmap it 1s 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 A Topp T dii pel A I U SISTI Ri NENT Note This information is specific to the Macintosh If you have no desire to comprehend the mysteries of the NENT and FOND then you can proceed to the next section Bevan Tool Ip pulpal Farmai ni el 1 42359 Me Pee bri ij Hii bre Bil iasp Sizes Ti dint UB 13 74 Fontographer generates NENTs New FoNTs for the Macintosh NENT ID numbers can range up to 32 767 The NENT 1s the repository for the bitmaps The spacing kerning naming and metrics information is handled by the FOND With the arrival of TrueType fonts on the Macintosh and System 7 the NENT is being phased out and in many situations today it is not even required But the FOND remains a necessary part of the font handling equation on the Macintosh BDF This option is provided to generate Adobe Bitmap Distribution Format BDF files BDF s can be used for creating screen fonts on computer systems such as the Sun DEC and DOS Information on the format of the BDF file can be found on CompuServe GO MACROMEDIA and choose Fontographer Forum Data Library 12 The Macintosh file you should download is named BDE SIT Fins Pani l aio format BEI
71. the close box of any open Bitmap Window Any open Metrics or Outline Windows will remain open Tool palette 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 1s locked type the number 1 Hand tool The hand tool lets you move the display area useful for large characters To change from the other tools to the hand tool hold down the Spacebar You can use the tool as long as the Spacebar is held down Or while the lock icon is locked type the number 2 to select the hand 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 1s 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 1s locked type the number 4 Marquee tool Use the marquee tool to outline an area and display its pixel grid The gridded section can be moved around the window by dragging it To place the moved bits and deselect the marquee click outside of the movable section To use the marquee
72. the first screen The final option Most common then largest is what you 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 1t 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 Since Auto Kerning is already not blindingly fast you are strongly encouraged to choose the Faster mode and buy more memory if you need it Kerning technique tells Fontographer which internal algorithm it should use to compare characters Examine minimum distance tells Fontographer to calculate kerning by looking only at the smallest distance two characters are from each other For serif fonts this can result in loose kerning because serifs frequently come very close to touching each other In this case Fontographer will be essentially kerning the font by looking at the font s serifs and little else Examine average distance and Examine weighted distance try to compensate for that problem by averaging the outlines a little bit it will allow the serifs to get closer if other parts of the character are further away Of those two options the weighted one is supposed to be a more optical kind of comparison Since fonts vary so drastically and the sets of ch
73. 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 fam file as your repository copy each FOND in the other fonts into it When you have done that there should be a total of four FONDs in PetesFont fam This can easily be checked in ResEdit by double clicking on the little FOND icon in the window for the PetesFont fam file Note that you don t need to copy any of the NFNT resources the construction of the main font family in Style Merger copied in all the NFNT s for you All you need are the four FONDS brought together into the main family 4 Close ResEdit save your changes and install the file PetesFont fam Now you have an ATR compatible font family 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 You ve tweaked scaled and skewed the characters adjusted the kerning and spacing printed out a sample to see what the characters look like and finally generated the font And since you re perfectly happy with your creation you re ready to install the font and actually use it
74. their graphic design by the limited availability of fonts on the Mac When Fontographer got hinted generation of Type 1 fonts into the market in 1990 the font world was truly changed By this time I had left Bitstream to concentrate fully on The Font Bureau the type design company I have founded with Roger Black We released our first retail fonts that year The general impression was that they were as good as any fonts available for the Mac Needless to say Altsys had become my best friend Throughout these years from 1985 to 1990 the most astonishing thing to me was that Altsys was constantly improving the features performance and ease of use of Fontographer in spite of the fact that there was no competition in the field for Fontographer When competition and a larger user base developed Altsys went into overdrive Through Fontographer 3 0 and 3 5 TrueType and PC font generation improved printing functionality Multiple Masters change weight and all the rest Altsys was always doing the right things at the right time for all the right reasons Today you have before you the next generation of this great tool Macromedia Fontographer 4 1 1s a truly revolutionary change in the quality and functionality of type design tools Letter spacing is treated like a database scaling rotation skewing and such are totally interactive functions and autotrace is amazing The Font Bureau tested and tempted itself with version 4 as soon as the specif
75. times 1n succession across the character window and then picking the best one to keep This 1s only the beginning Unless you are one of the world s best calligraphers you are not going to whip out 26 perfect calligraphic letters on the first try No problem Do the best you can Decide which ones are the right proportions the best style and then do minor alterations on the others to bring them in line Using Fontographer commands scale them up or down rotate when necessary etc If a stroke 1s too narrow grab points on one side and pull to widen it You can t do this in ink but you sure can in Fontographer Sometimes when you sketch a letter the Fontographer outline that appears will have more points than are necessary You want the fewest points possible so prune out the excess using Merge Points or Clean Up Paths Also check to be sure that you have the path direction correct clockwise on outer outlines If your character has overlapping parts do a Select All and Remove Overlap If that doesn t work make a copy of the outline and put it in the Template layer then in Outline rework the overlapping section following the original calligraphic shape If there s something that doesn t please you just grab the points and adjust It S not ink you can tweak it until you get it right Assuming you ve got a lower case that s looking good you can get a little fancier for your upper case characters Maybe you will add a few flourishes
76. up you have several choices If you feel adventurous read the story on Encoding options later in this chapter Ninety five percent of the time you ll want to use the Macintosh encoding Select PostScript Type 1 from the Format pop up menu The ID field is useful in PostScript Type 1 fonts Generally just accept the number we propose It is randomly generated in the range of 4 000 000 to 4 999 998 f you want more information on this field then read the PostScript ID field section 6 Werecommend that you accept our default settings for the Hints and Flex checkboxes If you want more information on these fields then refer to our n rip hinting and flex sections later in this chapter 7T The Overwrite existing files checkbox is provided as a means to prevent the accidental removal of 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 e or dollar sign to the file name fiber 2pzu mus E hrs aei iig reu LIES A Eb 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 If you want an AFM for your Macintosh font just turn the checkbox on 9 The default directory is in
77. when another tool is selected while the lock icon 1s locked type the number 5 Move tool Use the move tool to move the bitmap away from its outline in any Note direction Click on the character bitmap and drag to a new location Access the move tool while the lock icon 1s locked by typing the number 6 when another tool is selected Measuring tool The measuring tool measures distances in pixels Press the Shift key and drag the mouse in any direction to use a deconstrained measuring line Press the Option or Alt key and click to extend a measuring line that centers on the clicked point and that rotates constraining to 45 degree horizontal and vertical angles Select the measuring tool when using another tool by typing the number 7 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 press 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 The descent ts t
78. 1 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 03b1 03b2 03b3 03b4 03b5 03b6 03b7 03b8 03b9 03ba 03bb 03bc 03bd 03be 03bf 03c0 03c1 03c2 03c3 03c4 03c5 03c6 03c7 03c8 03c9 03ca alpha beta gamma delta epsilon Zeta eta theta iota kappa lambda mu nu X1 omicron pi rho sigmal sigma tau upsilon phi chi psi omega lotadieresis e cm D gd oa rn Ho Go m ri m We m hou D Dm pd ow om 470 471 472 473 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 03cb 03cc 03cd 03ce 0401 0402 0403 0404 0405 0406 0407 0408 0409 040a 040b 040c 040e 040f 0410 0411 0412 0413 0414 0415 0416 0417 upsilondieresis omicrontonos upsilontonos omegatonos af 10023 afi 10051 afi 10052 af1110053 af1110054 af1110055 af1110056 af1110057 af1110058 af1110059 af1110060 afii 10061 afii 10062 afii 10145 afi 10017 afi 10018 afi 10019 afi 10020 afi 10021 afi 10022 afi 10024 afi1 10025 E E wW ew a e vd Om do m Z H d bo 0 wW wv 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513
79. 1 n 4 8 i La f sg I Ss x TT pim HS d Lin ream ake be than i 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 This 1s sometimes easier said than done If your font has 200 characters in it for instance there are 200 x 200 40 000 different character combinations to consider Vo Determining proper widths for each character in a font 1s a difficult Some letters can never really be spaced correctly for all possible combinations For example the T usually presents some problems M Ll h De de a dp gqa ii a f TY hi i Hum mH io Berta prol NIE d 4 E L E JP Now of course you have a new problem Ih IT Clearly you can fix some of the spacing problems some of the time but never all of the spacing problems all of the time Which brings us to kerning and what it 1s Pair kerning rip Pair kerning lets you get around those sorts of difficulties With a properly kerned font you can actually get perfectly wonderful character spacing all of the time with a bit of 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 fi
80. A single pressing of a key on the keyboard Layers palette The window of layers within the Outline Window Leading The space measured from baseline to baseline added between successive rows of text in a document Left justified Type that is aligned with its left margin Also called flush left Linotype 100 300 High resolution typesetting systems Megabyte 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 he1ght 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 Monospaced type Like typewritten characters these all have the same width and take up the same amount of space Use of this type allows figures to be set in vertical rows without leaving a ragged appearance as opposed to proportional type NFNT New FoNT The Macintosh font resource which contains your bitmap screen font NFNTs have a wider range of font identification numbers than the older FONTS NENTS opened up another 16 000 FOND ID numbers when they were introduced by Apple with the Macintosh Plus Oblique A right slanted version of a Roman typeface without changes to the letter s design Often confused with Italic Old
81. It will make sure that points are always placed at extrema points in the tracing results and this 1s recommended for PostScript and TrueType fonts Transformation options Fontographer s transformation options are located under Transform in the Element menu Any of these can be 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 Note Flip You can use the Flip transformation to flip the image to the opposite side of an imaginary horizontal or vertical line You access the Flip transformation pop up menu via the Transform menu or by double clicking on the Flip tool in the tool palette To flip selected items horizontally 1 Select a character Choose Flip as the first transformation Click on the Horizontal radio button de Al Ina T bees Lip ag 4 Click the Transform button To flip selected items vertically 1 Choose Flip as the first transformation 2 Click on the Vertical radio button 3 Click the Transform button to apply the vertical flip 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 C
82. No earlier version of Font DA Mover is capable of handling TrueType fonts 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 You may choose to install all the bitmap sizes or none of them Remember that TrueType fonts do not depend upon the bitmaps to properly display a screen image of the font Click the Open button and then open your System file Select all the fonts you want to install by dragging through their names Erik Risi HN ninpg Chem id Leann tei venia l kiarn gr Click the Copy button to copy the fonts from your suitcase into the System file Click the Quit button to exit Font DA Mover 4 1 If you re running under Multi Finder 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 for each application that has a font menu Installing TrueType fonts in System 7 0 x System 7 simplifies the installation of TrueType fonts because you don t have to use Font DA Mover 1 Quit all open
83. Remember that the margin and kerning adjustments leave you great leeway in how you place each lower case letter in combination with each upper case Use automatic kerning to make them fit just the way you want Let s say you have now worked out a basic alphabet and it 1s looking good when you do some proof printing of various letter combinations But when you print two 1 s together they look mechanical and wooden Here s where the fun begins and the complications start Make yourself a nice calligraphic double 1 with one letter a little taller than the other Then when you re setting type you can do a search and replace command and drop a hand tooled double T in for every two twin T s Alternate characters look really neat and give the look of authenticity to calligraphic typesetting You can create as many double letters as you want You can create nice combinations of Th You can give your font 15 different as if you feel in the mood That s the creative part The complex part comes in with the decision on just where in the world of keyboard character positioning do you put a double 1 There are no standards and no rules If you are the only person who is going to use the font you can do anything you like as long as you make yourself a map so you can find that double I six months from now But if you re going to sell the font you will do some brow furrowing because you will probably be supplying bot
84. 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 Customizing Fontographer sounds on your PC If your PC has a sound card you too can enjoy the sounds described under Customizing Fontographer Sounds on Your Macintosh with a few important differences The sounds that Fontographer uses are stored 1n WAV files in the main Fontographer directory on your CD ROM BUSY WAV plays when the progress dialog 1s open SNAPP WAV plays when snapping to points in the outline window SNAPG WAV plays when snapping to guides in the outline window SILENCE WAV checks at startup to look for a sound card To turn sounds on or off 1 Select Preferences from the File menu Vo 2 Choose Sounds from the pop up menu in the Preferences dialog Check or uncheck the appropriate checkbox to enable or disable particular sounds or use the master switch to turn all sounds on or off at once You can personalize the sounds that Fontographer plays by replacing the three sound files with your own WAV files rip Windows Note Chapter Eleven Reference Section Windows Menus Keyboard Alternatives 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
85. SKNAME 1 Font Disk Give the name label of the floppy PKGNAME novafam TrueType for Windows To use Windows TrueType fonts you must have Microsoft Windows 3 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 For your Computer select PC 2 Select the TrueType option in the Outline font to output Format field LET mi H rsi itid Computer Fi Dm ei Wailer damni ia cuipal format Eruamlyps a zm Prasigpe ntiaak 3 You can disregard the ID field as that pertains only to PostScript Type 1 fonts 4 If you are curious press the TrueType Options button otherwise skip to step 6 The default setting are shown below Generally leave them alone but turn off hinting if your font exhibits printing problems The Use Symbol encoding and Sequential Character Mapping should only be selected if you wish to create a Wingdings style symbol font for Windows or if you have some other special purpose like getting some additional characters etc For more information see the next section Symbol Encoded PC fonts Confine screen characters to em square will not change the way characters print Include extra TrueType tabl
86. Set the Perspective Point pop up to Basepoint Important If you wish to setup additional transforms in this dialog then make sure you do the perspective transform last Any transforms that occur after the perspective transform will not have a three dimensional appearance When you are done the Transform dialog should look like this Note nm pate ni e EHE F Per a pria m IDE ferris 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 Choose Paste from the Edit menu Click down on the ascent line Double click on the Perspective tool Set the XZ angle to 0 and the YZ angle to 90 Press Return m de PAN If you have been following our example from the beginning then your character in the Outline Window should look something like this as veia cena ie To do a 3 D Move Let s continue where we left off creating a disjointed cube For this example to work the square circle you are transforming should still be copied into the clipboard You will now create the back side of the cube by moving the selected points backward by 800 em units into the 3rd dimension 1 Choose Paste from the Edit menu 2 Option double click on the selection tool to bring up the Transform
87. Style Characterized by variations in stroke width bracketed serifs high contrast and a diagonal stroke Some popular Old Styles include Garamond Janson and Caslon Outline font A font created by drawing the outlines of each character A PostScript font 1s an outline font Outline layer The layer in the Outline Window used in editing a character s outline Outline Window The window that displays a characters points and paths used for editing character outlines Path sequence of points which may be connected open or closed Permanent font font which resides in a PostScript printer until the power is turned off Pica A unit of typographic measurement equal to 0 166 inches or 12 points PICT A Macintosh graphics format that Fontographer and other eraphic 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 unit of typographic measurement equal to approximately 1 72 inch 0 01383 inches Point size The height of the type body A standard type measurement system was originally developed by the Parisian type founder Pi rre Fournier Le Jeune in 1737 In the days of metal type the point size was the total number of points in the height of metal type including the ascent and descent of the letters and the metal ab
88. T do 9 not use LF do 10 not use b Thorn 11 b thorn 12 CR do 13 not use Zcaron zcaron DLE DCI DC2 DC3 DC4 onehalf onequarter onesuperior threequarters threesuperior twosuperior brokenbar minus multiply RS US space exclam quotedbl numbersign dollar percent ampersand quotesingle 14 15 16 17 18 19 20 21 22 25 24 25 26 21 28 20 30 31 32 33 34 35 36 2x 38 39 0 9 parenleft parenright asterisk plus comma hyphen period slash zero nine colon semicolon less equal greater question at A Z bracketleft backslash bracketright asciicircum underscore grave a Z braceleft bar 40 41 42 43 44 45 46 4 48 57 58 59 60 61 62 63 64 65 90 91 92 93 94 95 96 97 122 123 124 To Tr Da e o E i S E Cx Zi bh lt e P mis braceright asciitilde DEL do not use Adieresis Aring Ccedilla Eacute Ntilde Odieresis Udieresis aacute agrave acircumflex adieresis atilde aring ccedilla eacute egrave ecircumflex edieresis lacute igrave icircumflex idieresis ntilde 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 Ge te C on e uA Ch o Go o cl a SG opm H 2 oacute ograve
89. TI EH chi leis SEDO PTT PIR E Lara pir hens All characters will export all the characters in your font Selected characters will export only the characters currently selected 1n 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 Walgpal hmm Lee ia paul When you export an EPS file Fontographer allows you to choose your own file name Once you ve chosen the folder to export the file to press the Save button and the font will be exported without further comment To export an Al file from the PC Follow the steps for exporting an EPS file but be sure to select the AT format from the Export pop up in the File menu Exporting Macintosh PICT Fontographer provides the PICT file option to generate PICT format files Fontographer creates an object oriented PICT that stores the points and paths of the characters To export a PICT file 1 Select the PICT Format Select the point size necessary for your intended use 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 woul
90. a problem occurred during blending Usually almost every character will have interpolated unless you have chosen two very disparate fonts Characters which don t get blended are frequently some of the seldom used symbol characters because the upper 128 characters can vary greatly from font to font If this 1s the case you can decide you don t care because you never use those characters and go on and use the font successfully Or you can try to figure out why those several characters couldn t be interpolated like the rest which is what this section 1s about The blending process Font Blend is very much like the Macromedia FreeHand blending of one object with another The mathematical process for interpolation is very straightforward Given two points Fontographer will calculate another point that lies some specified fraction of the way between those points Referring to Figure 1 assume we drew the inner and outer bold rectangles on the left with the numbers indicating the ordering of the points If you want to interpolate another rectangle that 1s 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 1s 50 of the way from the outer point to the inner point Connecting those points gives us the gray interpolated figure You could interpolate 25 by marking the point 25 of the way from the outer to t
91. a true italic typeface has redesigned characters that compliment the face But skewing 1s a really easy way to create a new typeface that can add emphasis to your text 8 om D D F an m mm hiena lima wrod LENLE mi open io um mm 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 Choose Transform from the Element menu Drag down in the First transformation pop up menu until you ve selected the Skew option and made sure the other pop up menus say Do nothing Fontographer defaults to a horizontal skew value of 12 degrees the appropriate angle for an oblique font depending on who you ask 4 Click the Transform button and Fontographer skews the k Fontographer gives you the option of applying other transformations at the same time you skew the character To apply more than one transformation 1 Double click on the k and select Undo Transform from the Edit menu to undo your last move 2 Select Skew from the Transform dialog and enter 12 degrees Horizontal leave Vertical at 0 CORT oe Were bres M
92. adio button Note RK t 1 3 Click OK DHieslinglirn Fal Britt 4 BH rEisliag sante Cherar ler a ri ind deo rada chore rem Fontographer will automatically reblend the characters F 1 E E E 4 Turn off the Template layer and Show Points and then choose Preview from the View menu to view your new character 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 Consult your log file for details about the unblended characters When you open the text file Fontog log you will see the list of error s Here are some examples of possible errors char 41 char 42 Path 4 Beer 290 290 different of paths 30 3 303 1 different type of paths 7141 char missing in font 2 Let s go through the error messages one at a time The first headers refer to the character decimal location in the fonts So character 290 in Font 1 and Character 290 in font 2 don t match because they have a different number of paths This means that for example your lowercase g in font 1 has three paths b
93. ally character spacing was determined by how wide the metal pieces were And that s still pretty much what we mean by spacing it s mostly determined by how wide the characters are Letters are set down one after another each new character s position determined by the width of the previous character In other words each new character starts where the previous one left off One of the most impressive features of Fontographer is its ability to let you control the metrics of electronic fonts either letter by letter or the entire font manually or automatically The next exercise shows the power of Fontographer s autospacing command You can autospace an entire font at once directly from the Font Window However in this exercise you ll work in the Metrics Window so you can see Fontographer autospace interactively on screen In addition we are going to ask you to purposely mess up the spacing of your characters so you can see just how effective our auto spacing is even in a worst case scenario To automatically space a font Open one of your fonts Choose Select All from the Edit menu Choose Set Width from the Metrics menu D dl Set as illustrated below E iri als ir Tan PE Ei a Lage ddmncmg EE KOP d E i a Pi hamuq as mg H mi chor S Fontographer will automatically set the spacing of the characters to be a uniform width of 400 em units producing an awful monospaced font Click on any character to
94. alog appears ELI E pam Li e nm mi wel LU PETS cam g ge As you can see from the screen shots on this page Fontographer scales the characters horizontally without changing their height Center Feereinrr ltags m amd Tender od arc el Lodi rl l I Cantor iranier linm arno pat x Barepulal mE iraaciprmaligra a aa pei Lhare Ted ie Core ul J Lealer Haas tora lige srogrd Transtarm Last TRL ki k W lar r4 Fi rsi irene Errimak abr cala ji ar porca n 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 1s 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 allows you to set each character s basepoint differently It can be moved as needed by selecting the pointer tool and dragging it to a new location or by entering a specific horizontal and vertical location Lecaliam 15 a 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 Ba
95. an also control global font wide attributes such as x heights so the tops of characters like x n c m etc are all aligned properly at all sizes Hinting is most important at low resolutions because there are fewer pixels to define the character image At high resolutions it s easy to get a good image there are so many pixels to deal with the differences hinting makes are not normally noticeable or important The figure on the right is how our H example might look on a Linotronic at very high resolutions Since hinting can control at most one pixel s difference either way the human eye can t usually perceive the difference hinting makes at high resolutions To sum up A hint is special information placed into a character s outline definition that causes the character s outline to be adjusted in a way that improves the character s perceived shape when printed LEE a hia hae ee EHHFINHFIENI LLLSELSCLEU II U UUBNBEBI IENI IENEI AAA A u o AA EERIE Hui s m m H AA tee ee EI l l SE ESL OO eee jm m gi m a m m m mm IL LL id RE RSS EH LL JAJAJ ELLELLU musun RS AS IA IENEFINHFINENN AAN FHERETIMEIMERE BEEITEPTRERI m m u u m md BELLE LLG eee A AMIAMO I FTS FTS RRE Na II PANNI mp m s Reg mom ba u m a m mm IIT rr LUUSST 1 BR REI 8 EH RR SONG AA 1 RRE D EH RR A CUA RIT ELSE Hinting controls Fontographer lets you control hints from two places the Hints layer of th
96. angled lines as well as circles You will quickly see how the characteristic shapes of western calligraphy are achieved That knowledge of how the position of the pen affects the line of ink that flows from it is what you need to know to draw calligraphy with Fontographer You need to internalize the mechanics of the pen in your head So that when you draw an O you know that the pen will issue a wide curving line on the right side downstroke but will taper to near nothingness as you pull the stroke to a close at lower left Because the pen has a precise width the stroke will have a predictable variance in size Most basic strokes are made without turning the pen but more advanced strokes do 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 Remember you don t have to be a calligrapher you just have to learn to think like a calligrapher s pen If you are interested in oriental calligraphy dip a Chinese brush in ink and press the soft tip to paper pushing the bristles about half way down and to one side and then gradually lifting it and tapering off to the other side Note the shape o
97. aphy The Bezier curve was named for Pierre Bezier a French computer scientist who developed the mathematical representation used to describe that curve Bit contraction of BInary digiT this word signifies the smallest unit of data a computer holds and represents a two way choice like on or off or black or white Bitmap A grid of individual dots or pixels that make up the graphic display Each pixel or picture element corresponds to bits in the computer s memory Bitmap font 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 Caching The process that saves bitmaps in memory or on the printer s hard disk in order to minimize the amount of time spent generating bitmaps The first time a particular letter is imaged its bitmap 1s generated and cached Subsequent uses of that letter can use the cached version for faster printing Cap height The height of uppercase letters Cap line The imaginary line which represents the uppermost part of capital letters and some characters ascenders Character symbol in writing A letter punctuation mark or figure Character label The portion including a character s name loc
98. aracters you can tell Fontographer to use for Auto Kerning are limitless there is no meaningful way to document the differences in output that these various techniques will show Our advice as in Auto Spacing is to try the different methods and decide rip which ones give the best results for you and your fonts The final Auto Kerning dialog is called Exceptions and it looks like this Check Change existing kerning pairs if you want to let Fontographer in the course of Auto Kerning adjust kerning pairs which have already been created Unchecking this locks the current pairs if you go in the Metrics Window and manually set up a bunch of new pairs you can now 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 Check Don t kern lowercase to uppercase if you want Fontographer to skip all kerning pairs in which the first character is lowercase and the second character is uppercase Having this checked is the recommended option since those sorts of letter combinations almost never occur The bottom parameter is among those that exert the most i
99. ard Simply click on any character and move it left or right If you hold down the Shift key the character movement is constrained to up and down with respect to the baseline If you hold down the option or Alt key you can move it anywhere you want over a bit up off the baseline etc A good technique for manually creating kerning pairs 1s to enter the amp rip rip left character T for example and enter a character like a for the second character Select character a and the kerning line appears Click on the kerning line and move the mouse to adjust the kerning When you have kerned Ta to your liking you can choose Next Character from the View menu and the Metrics Window will update itself to show Tb You probably don t want to kern that one though so you can leave it alone and just choose Next Character again until you see another pair you think needs kerning This is an easy way to move quickly through all the combinations of characters Once you have made lots of kerning pairs you can step through them all with Next Kerning Pair and Previous Kerning Pair also found in the View menu This way you can see all the pairs which you ve kerned and ignore those you didn t kern If a character 1s selected you can choose a new character simply by typing a different letter However be sure you do not have a blinking insertion cursor somewhere else in the window If you did you would enter a new va
100. ask 1f you want to create bitmaps Open Metrics Window Open Metrics Window will display the Metrics Window for a selected character 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 1 for Windows users have the additional menu choices of Cascade Tile Arrange Icons and Close All The Hints Menu Make Vertical Stem To make a new vertical stem hint select two of the points that define the stem and choose this item from the menu Make Horizontal Stem To make a new horizontal stem hint select two points which define the stem and choose this item from the menu Make Vertical Serif To make a vertical serif a serif that attaches to a vertical stem select four of the serif s points and choose this item from the Hints menu 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 defin
101. ate a Type 3 font since it won t work with ATM and is not as legible as Type 1 when printed to a 300 dpi printer The advantage 1s the flexibility of the Type 3 format 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 11 Choose Generate Font Files from the File menu Click on the Advanced button and then select the Macintosh option from the Computer pop up menu You have several choices in the Encoding pop up If you feel adventurous read the article about encoding options later in this chapter Ninety five percent of the time you ll want to use the Macintosh encoding There are only two encoding vectors which make no sense for the Macintosh ISO Latin 1 and Windows In the Format pop up menu select PostScript Type 3 The ID field is NOT necessary in PostScript Type 3 fonts Disregard it For more information on the Absolute coordinates and Compressed checkboxes see the section below titled Other Type 3 formats The Overwrite existing files checkbox is provided as a means to prevent the accidental removal of original f
102. ated above the character slot in the Font Window Character set The characters symbols and numbers that make up one single font Character slot The boxed area enclosing a font character in the Font Window Clipboard The place where the most recent cut or copied image is stored Condensed Characters which are narrowed to fit into a compact space A properly condensed character should fit into a smaller space without making it too thin or reducing the character s height Crosshair The cross like shape the pointer assumes when certain drawing tools from Fontographer s tool palette are selected Demagnified move A special feature of Fontographer 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 f 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 Downloadable font A font that can be temporarily stored in the printer s memory Downloading The process by which an outline font file is sent to a PostScript printer Dots Per Inch dpi The measure of resolution for a video monitor or printer High resolution printers contain usually at least 1000 dpi Laser printers typically have a resolution of 300 dpi monito
103. attainable to everyone from the graphic illustrator to the desktop publisher to the business executive And now Fontographer provides this capability to you So on with the manual we hope you enjoy it Fontographer 4 1 allows you to generate ATM compatible Type 1 fonts as well as Type 3 PostScript fonts TrueType fonts PICTs and multiple masters on the Macintosh and Encapsulated PostScript EPS files You can import EPS files directly and use their outlines in the drawing window You can also use metrics information from a variety of sources and export information to those sources as well Additionally you can import kerning tables from Adobe Font Metrics AFM and other files You can also take advantage of the PostScript graphics you create in Macromedia FreeHand and Adobe Illustrator by pasting them directly into your characters Many dialogs in the program give you two options Easy and Advanced mode letting you have total control of the program if you want it or allowing you to rely on its simple 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 Now you can ask Fontographer to do it automatical
104. baseline and ascent lines Note If you choose Preview from the View menu you can see that the fills are automatically transferred to the typeface Important If you have trouble getting a single character logo to display on screen and or print you may need to break the character into parts that can be placed into multiple key strokes For more information check MacroFacts at 800 449 3329 for a TechNotes That s all there 1s to it If you d like to modify the 1mage further you can The rest of this chapter is bursting with 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 The path data will be pasted into your character so 1t fits between the ascent and the descent Holding down the Option key while pasting the EPS file or bitmap image will retain the image s size at the moment you copied it Pressing Shift Option Paste will fit the EPS file or bitmap image between the baseline and the ascent Pressing Shift Alt Paste will have the same effect for a bitmap on the PC Paths and points n Paths a
105. be able to merge the paths but you ll need to remove the overlapping segment s manually Removing the overlap s may result in faster printing fonts and help the hinting process and eliminate some TrueType printing problems Correct Path Direction Correct Path Direction examines all the selected characters or paths and 1f necessary automatically reorders their path directions Outer paths are set to clockwise the inner paths to counterclockwise Clockwise This item will be checked if the selected path was drawn in a clockwise direction You can change the direction of a path to clockwise by selecting this item Counterclockwise 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 1s the offspring of this merger Multiple Master Macintosh only This 1s the dialog which controls the creation of multiple master typefaces You can choose the master fonts as well as coordinate space and many other multiple master variables To actually generate a multiple master typeface go into the Generate Font Files dialog The Points Menu Align Points Align Points will align selected points along a horizontal or vertical axis Fontographer decides which axis they are closer to forming Align Poin
106. 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 The Look for cusps control determines how lenient Fontographer ts in finding cusps and thus it will have an effect on how many corner points are used in the tracing results Setting this control to a low value means it will find very few cusps and the results won t have many corner points Setting the control to a high value means it will find many cusps and the results will have more corner points Treat nearly flat paths as straight lines This check box 1s similar to the Make straight lines control however it differs in a subtle way The Make straight lines control can help straighten any curves that are nearly flat However the Treat nearly flat paths as straight lines checkbox only straightens curves that are nearly flat and that only bend to one side For example this control can straighten a C shaped curve that bends to the left of the straight line but it can t straighten an S shaped curve that bends to either side of the straight line If you think the difference between these two controls is too subtle for your needs then we recommend that you ignore this control and just use the Make straight lines control Find extrema points You should probably leave this checkbox turned on
107. believe you should spend your time creating wonderful designs instead of worrying about point placement and the mechanical details of B zier 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 Creating calligraphic characters Note One of the most notable features of Fontographer is the freehand drawing tool which you can use directly with the mouse or with a pressure sensitive pen and digitizing tablet Additionally you can use the freehand drawing tool as either a calligraphic pen or a variable weight pen To use the calligraphic pen 1 Double click on the freehand drawing tool EM The Freehand Tool Setup dialog appears 2 Click on the Calligraphic pen checkbox lg Col grab pre Fri nra RI Pr ith Fon angle am 3 Make sure the Pressure sensitive option the Tight curve fit and the Draw dotted line Stroke options are all turned off inks regitur T Tapes pero 5i D hap ciem ann LEEF FIERI TEN EI LR Va KOR SEE ERES a sr insta km slgtr shili T5 si mind s dup mama Juir iuri sl Ciara qee pra x Era nisi DM e in Pe MEE x 4 Entera Pen width of 100 em units For the purposes of this exercise you should leave the Pen angle set at 45 degrees since that 1s one of the recommended angles for calligraphic characters 5 Click OK The freehand tool icon wi
108. box containing the 8 toward the lower right hand corner Double click on the path or on any point on the number 3 to select all of it and then move the 3 toward the top left corner You can create the divisor line by copying the forward slash into your character You can also draw the divisor line if you prefer However it 1s often much easier to use existing characters to create parts Select the forward slash character in the Font Window Choose Copy from the Edit menu Paste the forward slash character into the 3 character slot To change a reference character 1 2 Open the Outline Window for the actual character 8 Modify some part of it You ll see any changes you make to the original eight reflect 1n the denominator you created in your fraction character Unlinking a reference character Fontographer also lets you remove the link from any composite character This gives you access to the points in the character as well as removing the link to the original character To unlink a reference character 1 2 Click on the fraction you created in the 3 character slot Choose Unlink Reference from the Edit menu As you can see in our illustration the character s points are now visible and you can move them individually or together as a group oe UL d k Td d mmm A 1 Di A 4A n A 1a kri ba 153 ar hod e ee qi OS An ns A ligature 1s a character
109. button next so just choose Nova Oblique as the italic face and Nova BoldOblique for the bold italic face If you look at the Style Merger window you can see that each style button has a name beside it indicating that you can build a complete family now And sure enough Style Merger has bolded the Save Family button to tell you to do so When you click on that button a dialog box appears asking where you want to save the family and what it should be called Hir ege Li T 3 S Typically Style Merger suggests names like Nova Normal fam This will be the name of the suitcase file Style Merger creates The part of the name before the period 1s what the font will be called in your font menus it becomes the name of the FOND resource For instance if you accept the name Nova Normal fam Style Merger creates a file named Nova Normal fam and when you install that new family you ll see Nova Normal in your font menus If you want to see just Nova you should tell Style Merger to save the family as Nova fam After you press OK in the standard file dialog box Style Merger builds the family and saves it Then it cleans out all the font selections and is ready to build another family The window now looks exactly as it did when the program first started 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
110. can look in the fonts folder to verify that everything copied okay and you re done Transferring Windows fonts from the Macintosh 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 1 for Windows ships with a utility that builds Macintosh font files from files that you produce in Windows For more information on using the Macromedia PC to Macintosh Font Conversion Utility MMPC2MAC refer to Part II of Using Fontographer on Your PC Porting NeXT PostScript fonts to NEXTSTEP This is often the trickiest part of porting fonts If you re fortunate enough to have your Macintosh DOS and UNIX boxes on a network then you already know what to do Otherwise read on From the Macintosh If you re using NEXTSTEP 3 0 or later including NEXTSTEP 486 you can read Macintosh diskettes directly Simply transfer your font files from the Mac to the NEXTSTEP environment on a Macintosh high density diskette All versions of NEXTSTEP and NEXTSTEP 486 can read DOS diskettes To transfer your Macintosh created NeXT fonts first rena
111. capability called a demagnified move which allows for very precise point placement by constraining cursor movement to one tenth the distance specified in the Preferences at full resolution To use demagnification 1 Hold down the Control key while dragging a point If your Preferences under the File menu are set to the default of 10 em units Fontographer will move the selection in one em unit increments Keyboard commands to move points Click ona control point to select it and use the left right up or down arrow keys to move the point by one em unit 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 1s the default preference setting for cursor editing behavior select Preferences from the File menu Type in the preferred distance in the cursor textbox Accurate point placement For accurate BCP and point placement select a control point and choose Selection Info from the Element menu Type in whatever coordinates you like You can move the Point Information dialog anywhere on your screen to allow an unobstructed view of the points you are setting d Note Point ag CEC ati Rtg J Cama incoming gtt 538 AI A On pair futgaing EF FIT M 859 37 Om piani Seal gr E Fath ii fru pi E Any changes you make in the Point Info
112. ces Making a Macintosh font family requires using Style Merger a Macromedia utility that comes with your Fontographer 4 1 package Style Merger takes styled Macintosh screen fonts and merges them into one Macintosh screen font family Macintosh font family relationships are coordinated by special resources located in the screen font suitcases Style Merger will work with both PostScript and TrueType fonts It never affects any fonts or font files already on your computer it simply reads existing fonts and creates a new file containing a family 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 te iB Wassm A MET Now let s run Style Merger It is so easy to use that the complete process takes only four steps To create a font family with Style Merger 1 Double click on Style Merger s icon LG AM Style Merger Style Merger s main window appears Laja 1501 2 Click on the button marked Plain and then choose the bitmap or TrueType file that contains the Plain style of your font Nova Normal bmap in this example
113. check the Compressed checkbox Fontographer will create a plain PostScript file PostScript programmers use this to generate standard PostScript definitions of all the characters in the font This will create a usable if very large Type 3 PostScript font Compressed is the standard Type 3 font format This font file can be used for both automatically downloadable fonts or fonts that are to be down loaded to the printer s hard disk Compressed PostScript is the preferred form for generating Type 3 fonts PostScript is stored very inefficiently inside the printer so compression 1s 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 font None This option is provided to disable outline font generation In the remote instances when you only need a fresh bitmap file it 1s not necessary to regenerate the outline font Encoding Options The encoding of the font 1s the ordering of its characters Version 4 1 of Fontographer has two dialogs which allow you to set the encoding The Encoding pop up in the Font Info dialog will reorganize the layout of the Font Window to display the key positions of the encoding you selected On the other hand when you select a different encoding in the Generate Font Files dialog Fontographer will output t
114. circumflex Aacute Edieresis Egrave Iacute Icircumflex Idieresis Igrave Oacute Ocircumflex apple Ograve Uacute Ucircumflex Ugrave dotlessi circumflex tilde macron breve dotaccent ring cedilla hungarumlaut ogonek 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 caron 255 Adobe Standard Encoding vector Char name Dec notdef 0 31 space 32 exclam 39 S quotedbl 34 numbersign 35 dollar 36 Un percent 37 amp ampersand 38 quoteright 39 parenleft 40 parenright 41 2 asterisk 42 plus 43 comma 44 hyphen 45 period 46 slash 47 0 9 zero nine 48 57 colon 58 semicolon 59 e less 60 ES equal 61 greater 62 uA ba M 7 da X question at A Z bracketleft backslash bracketright asciicircum underscore quoteleft a Z braceleft bar braceright asciitilde notdef exclamdown cent sterling fraction yen florin section currency quotesingle quotedblleft guillemotleft 63 64 65 90 91 92 93 94 95 96 97 122 123 124 125 126 127 160 161 162 163 164 165 166 167 168 169 170 171 bo guilsinglleft guilsinglright fi fl notdef endash dagger daggerdbl periodcentered notdef paragraph bullet quotesinglbase quotedblbase quotedblright guillemotright e
115. coordinates and the middle point known as Flex height must be 6 units or less in the Flex direction 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 In other Words if you wish to design a Thai font for use in the Thai system by simply entering a font ID of 26625 you have linked the font to the Thai scripting system Perhaps you need a right to left font Simply use an ID in the range for the Arabic or Hebrew systems switch to those systems and your font will type right to left in those operating systems A table of the more popular script systems and their assigned ID range is at the right For more information on this please refer to Inside Macintosh Volume VI pages 13 6 through 13 9 Also see the section on KCHR resources in your Using Fontographer on your Macintosh manual Script System Font ID range Japanese 16384 16895 Traditional Chinese 16896 17407 Korean 17408 17919 Arabic 17920 18431 Hebrew 18432 18943 Greek 18944 19455 Cyrillic 19456 19967 Simplified Chinese 28672 29183 Vietnamese 31232 31743 Windows fonts PostScript Type 1 Five encoding vectors are accepted in Window
116. cript LPT1 or whichever port you had selected when you installed the font Identify your font by its DOS file name and remove that entire line from the table Find the line near the beginning of the table which reads Softfontsznn Adjust the number to reflect the number of fonts you have removed POSESOCETDE LPTI ATM placeholder Softfonts 21 TrueType m Pe e p c Open the Control Panel Open the Fonts Control panel by double clicking on its icon Select the font you want removed Click Remove If you want the font permanently removed from your disk click on the Delete Font File From Disk checkbox Press Enter or click Yes to remove the font Removing fonts from the NEXTSTEP operating system 1 wm BP w N In the Browser go to your fonts folder It can be found either in LocalLibrary Fonts or Users Library Fonts Select the font you want to remove Remove the font extension from the name and press Return Now the icon representing your font has changed to a directory 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 Trash the font from the fonts directory Do the same for the afm file Get back to your console and type cd Tonts
117. d general grounding in file formats fonts typography scanning and printing The book includes a helpful section on troubleshooting when things go wrong as well as a Macintosh disk full of DTP utilities clip art and two PostScript fonts While not an in depth study of any particular area this book 1s 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 self absorbed reference for Macintosh typography This affordable paperback is chock full of the latest on Mac based typography page layout design conventions and the like While it has a distinctly British flavor and goes overboard in its layout and graphic examples Collier s Rules is not a bad way for a budding typographer to absorb some of the basic principles and arcana of computer based typography The Mac is not a typewriter by Robin Williams Berkeley California Peachpit Press 1993 72 pp A slim elegant guide to typesetting on the Mac Quick and easy chapters cover the top twenty tips for effective Mac based typographic design Friendly in tone and easily accessible most of the included information will be known by experiences designers but provide a very good primer for the novice Font
118. d character into a calligraphic character To change a stroked character into a calligraphic character 1 Choose Expand Stroke Click Calligraphic pen enter a value and click OK Choose Selection Info and change the character to a Filled character 4 Choose Remove Overlap from the Element menu Note Clean Up Paths One of the most revolutionary features in Fontographer 1s called Clean Up Paths This incredible command automatically improves the quality of your outlines by removing unnecessary points Fontographer will try to change the path as little as possible less will change the outline as little as possible more will remove more points and thus change the path more And if you have less points your printing time will be faster as well fel eT pia AE IP IE 0I FER Furl i himp g paris e Cancel How mach to sima lily RECON A A n Litt Mone There are two different uses for this dialog one 1s to put points where they belong for proper typographical outlines This is called putting points at the extrema If you bring up the dialog and only have the Insert points at extrema box checked that s all Fontographer will do simplify paths will remove points it judges to be superfluous The slider control adjusts the ratio between getting rid of a lot of points and changing your path a little and getting rid of fewer points and maintaining the integrity of the path We
119. d 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 Choose a Source font for the Font 2 position by clicking on its pop up menu and selecting Other A standard dialog appears that lets you choose fonts directly from your drive directory or a folder Ke Da lisa e TANT Mine Zeen Ior i Dae kere E ionic Cx Enter a Blend amount of 50 ae EE Hep Blend amount E a 2 Hrsert paints la Forte Manchi c Correct path direc ans fir he entode fonts 10 match charge bora There are three other settings below the Blend amount leave them turned on for this exercise Click the OK button Fontographer automatically creates a completely new Untitled font based on the values you set in the Blend amount text box 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 The change is reflected 1n the Untitled font character s Template layer Click on the Selected destination character s r
120. d like to export When you export a PICT file Fontographer allows you to choose your own file name m m Ei i dh E Mi E P d OD J 15 E i si i I T ll moon ml ma e Ve oom F hi P E wi bii im Fr ome m En ar m sil Once you ve chosen the folder to export the file to press the Save button Fontographer will export the font Note Programs such as MacDraw and MacDraw II Canvas Desk Draw Cricket Draw and Macromedia FreeHand can read this file format directly for editing purposes So now you can reshape distort or enhance characters or fill them with specific colors or patterns and even change their line sizes Exporting Encoding Fontographer 4 1 for Windows lets you export a font s encoding to a Windows text file This allows you to use the encoding from one font for use in creating a new one which comes in particularly handy if you want to design your own non Roman font without starting from scratch For the how to s of exporting encoding refer to Using Fontographer on Your PC ISO Latin1 Encoding vectors Char name Dec notdef 0 31 space 32 exclam 33 Es quotedbl 34 numbersign 35 dollar 36 0 percent 37 E ampersand 38 i quoteright 39 parenleft 40 parenright 41 asterisk 42 plus 43 i comma 44 minus 45 0 9 period slash zero nine colon semicolon less equal greater question at A Z bracketleft
121. describe both a particular size of a face and the underlying face itself When talking about the face 1n the abstract sense we shall continue to use the word face In its proper sense Point size A letter s type size Is measured by its point size The point system of type measurement was invented in 1737 by Pierre Fournier a Parisian typefounder Fournier s unit of measurement was 0 349 mm In modern desktop publishing a point is defined as 1 72 of an inch The point size of a font is measured as the distance from the ascent line to the descent line A 14 point font measures 14 points from its ascent line to its descent line Sans serif This manual s section headings are sans serif without serifs Sans serif type is generally considered more modern while serif type is considered more readable Some typographers have referred to sans serif typefaces as grotesque In the United States sans serif letters have been called gothic which in Europe refers to black letters Helvetica 1s 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 cross strokes at the ends of letters drawn there to improve readability of the type The typeface used in this text 1s a serif face Goudy Oldstyle Another example of a serif face 1s Times Style Styles
122. deselect all Choose Open Metrics Window from the Windows menu Type the word Space Rather than manually setting different widths for each monospaced character you can Auto Space the font 8 10 Spacing Choose Auto Space from the Metrics menu The Auto Space dialog appears Cancel Bam x kirku Ion spant rb Drs Clover To rarer The dialog has an Easy and Advanced mode Choose Easy by clicking on the Easy radio button Enter a value for spacing the characters This is the result of a value 30 entered in the text edit box d d 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 Since metal type pieces don t actually exist in the computer E 4 electronic type is not bound by the same kind of physical limitations amp tip that used to apply to type production In fact you even have to tell the computer how wide each character 1s supposed to be so it will know how much to move over before placing the next character That s what the handy width guide in Fontographer s Outline Window 1s for you should place it where you want the next character to begin with respect to the one you are modifying font
123. designated point size To print selected characters 1 Inthe Font Window select the characters you wish to print Choose Print from the File menu Choose Sample text from the Sample type pop up menu 4 Click the Selected characters radio button in the Print Sample dialog box 5 Click Print To print specific text samples Choose Print from the File menu Choose Sample text from the Sample type pop up menu Click the lowest radio button in the Print Sample dialog box The lowest radio button is located to the left of the text sample box Note Note Note Note 4 Type your text into the text box Fontographer allows you to type up to 256 characters in this box If you press the Return or Enter key while you re entering text you will begin the printing process However text containing carriage returns can be pasted into this text box 5 Click Print 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 Choose Print from the File menu 2 Select Sample file from the Sample type menu rum bem limen Sr A 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 PostScript file The PostScript file option allows you to choose custom PostScript sampl
124. dialog 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 Select Preview and voil Guidelines Note Setting guidelines The Guides layer is used to construct drawing guidelines which are common to every character of the font such as the x height line The Guides layer is similar to the Template layer except it is drawn in light gray or green and appears behind every character of the font Guides are purposely drawn in a lighter color so they can be distinguished from the outline and template images Guidelines may be edited or created from any character s Outline Window Change to the Guides layer by clicking on its name in the Layers palette or by typing g when the lock icon is in the locked state With the Guides layer active you can edit or draw guidelines with the standard drawing and editing tools Changes made to the Guides layer will appear in every character in the font You can undo changes made to the 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 choosin
125. dicated in the first line of the Where to output the fonts checkbox If you press the Set Folder Directory button you are presented with a standard file dialog Select the destination folder in the dialog and press OK Many users find it extremely useful to be able to save the generated files to various folders on their disk The Set Folder button displays a standard Save File dialog which enables the user to select any folder on any mounted volume as the destination folder for their fonts The currently specified path will appear in the Generate Font Files dialog The PostScript ID Field Type 1 fonts use this information so if you are generating Type 1 fonts it might be to your advantage to use it This ID is used for caching the stored bitmaps inside your printer Dip ai When a page is sent to the printer for the print job all the characters it uses are rasterized turned into a bitmap at the specified point size When the print job 1s finished the bitmaps are flushed from the printer s RAM If you have a hard drive attached to your printer for storage of outline fonts then the newly rasterized bitmaps are saved to it in a 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
126. ds 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 1s useful for PostScript Type 1 and TrueType fonts Since PostScript doesn t handle overlapping hints you sometimes need to specify which of the overlapping hints should get used the hints closest to the outline in the window are the ones that will get used in the case of overlap Typically you will want to apply the most frequent hints first on the grounds that they will work best for that character in comparison to the rest of the font Hint frequency is based on examining all the hints in the entire font and sorting them according to frequency of occurrence Usually changing these pop ups will result in changes in hint ordering which you can see in the Hints layer of the Outline Window Hint direction The hint direction tells which way the outline will be adjusted during gridfitting aligning the outline to the pixel grid used by the screen and or printer Generally you want all your hints to point inwards Toward center but that 1s not always the case so we included these pop ups as a way to customize this behavior easily for entire characters Individual hints can have their direction changed on a hint by hint basis in the Hints layer of the Outline Window Hint direction makes a difference for TrueType but if 1t affects
127. e o and other curvy letters are said to overshoot the H and the x by about 4 which makes them appear to be the same size as straight letters We take advantage of Type 1 fonts ability to align upper and lower coordinates vertically within these overshoot zones but only if the font is drawn according to the above rules or if you adjust the vertical alignment zones from the Vertical Alignment Zones dialog accessed through the Hints menu Don t create outlines with overlapping paths Eug x mmm Whenever a tool is selected from the tool palette in the Outline Window the information displayed in the information bar updates to accommodate the specific tool and its behavior Some of the indicators that appear are 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 It s a great time saver for lining things up Since Fontographer 4 1 allows the user to save a font with a name other than the filename there have been occasions for confusion as to what the filename of the font is The default 1s for the font to be vi
128. e I actually made a font on Fontographer Roger Black the well known publication designer who worked at Newsweek back then wanted a font for his redesign of California Magazine Roger had visited the letterdrawing offices at Linotype where I worked in the 70 s and he had visited Bitstream as well in the SU e in several failed attempts to get Linotype and Bitstream to make custom fonts for him and his clients When he came back to strafe us again in the winter of 1986 we were ready Matthew Carter Bitstream s VP of design deflected him at me and I told Roger that we had never actually made a font with Fontographer and the Mac but we would love to try He sent me the artwork of a long neglected type from an Italian foundry which I scanned and went to work on digitizing and spacing I was totally stunned at how quickly it was done and the quality of the results It was great and Roger loved it as well Most especially because it took less than a working week to accomplish From the time we agreed to do the face to the time it appeared in the magazine was about a month 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
129. e Macintosh TO the PC Create a point FON to get a point FON 5 4 7 3 8 6 9 J 11 8 1 9 13 10 Lo LL 16 12 17 1 3 L9 14 20 d FROM the PC TO the Macintosh Create a point NENT to get a point NENT 4 e 9 7 6 8 E 9 8 11 9 1 10 1 3 LI 15 12 16 Es I 14 19 15 z 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 In this chapter we will discuss exporting your font characters as graphics for use in applications such as Macromedia FreeHand or Claris MacDraw Pro For more about exporting metrics and the Fontographer Metrics file refer to Chapter 5 Metrics Spacing and Kerning Exporting EPS files The EPS option generates an Adobe Illustrator 1 1 style EPS Encapsulated PostScript format file Programs such as Macromedia FreeHand and Adobe Illustrator can open 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 Note Lar iial Uri Feb ap Ah TUT
130. e Metrics menu This command will remove all kerning pairs from the font you are editing Then use the Import Metrics command again Exporting Metrics Sometimes you want to export a font s metrics to a file There are a couple of reasons for doing this For example you might want to experiment with a number of different sets of metrics to see which fits the best With the ability to export the current metrics information you can save off what you have choose Clear Kerning Pairs from the Metrics menu and then try importing a bunch of stuff if that doesn t work out you can import the metrics you exported and be right back where you started Another reason to export metrics 1s just to see them all Some people like to see all the width values in a big list as 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 With Fontographer you can of course import metrics from all the file types which it can create The Fontographer Metrics file The Fontographer Metrics file is a standard text file any word processor can read The reason for having a
131. e 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 Automatic means that Fontographer will recalculate hints automatically when you edit character outlines Manual means that you have actually edited some hints Manual mode tells Fontographer not to replace your manually edited hints with its own Fontographer automatically switches to manual after you have edited hints Automatic or manual hinting varies from character to character Whenever you open a PostScript font Fontographer reads in the hints from that font and turns autohinting off Note that Fontographer hasn t made up any 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 There is an item called Autohint if there is a check mark next to it that means Fontographer will recalculate hints for the selected character every time the outline g
132. e Transform menu or by double clicking on the Scale tool in the tool palette To scale a character vertically 1 Choose Scale from the pop up menu 2 Enter a vertical scaling value l um l 3 Click Transform To scale a character horizontally 1 Choosethe Scale pop up menu 2 Enter a horizontal scaling value Lo ale a IEE Lo E 3 Click Transform Scale uniformly This option scales the entire 1mage 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 Doubling the size of the image would require a scale factor of 200 To scale uniformly 1 Choose the Scale uniformly pop up menu 2 Entera scaling value in the text box iim ore frais unita vig di M e 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 Choose the Skew transformation pop up menu Wm MN 2 Enter a skew value in either the horizontal or vertical text box 3 Click Transform
133. e em square is set up knowing the printing device resolution and scale at which the font 1s to be printed but this defeats the whole concept of outline fonts We recommend that you forget about trying to relate units to distance and think of them as design units whose dimension may vary Fontographer is capable of defining fonts with an em square of up to 8 000 by 8 000 units This range 1s far greater than needed for any normal font Most PostScript fonts have an em square of 1000 units which is also Fontographer s default Precise work for high resolution printers above 1000 dpi might benefit from an em square of 2 000 or more The choice of em square size 1s left up to you Choosing a larger em square means that you have more precision when outputting the character It does not mean that the printed characters are larger Since a font 1s always normalized so that the em square is one point high a font defined with an em square of 4 000 prints out at exactly the same size as a font defined with an em square of 1 000 It has four times the internal resolution but that is insignificant on a 300 dot per inch printer except at very large point sizes A 1 000 point high character almost 14 inches would have at most 1 72 inch of inaccuracy if drawn on a 1 000 unit em square If drawn with a 4 000 unit em square the inaccuracy would be approximately one dot 1 288 of an inch Proper positioning of the control points whatever em square size 1s us
134. e of the arc in one em unit increments 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 1s 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 Template layer The Template layer is where you will place images you want to use as a template for drawing Any points you draw here will not be used for PostScript creation but will show gray in the Outline and Guides layers You can also paste artwork or scanned images into the Template layer for hand tracing or autotracing Each character in the font has its own Template layer Guides layer The Guides layer is where you place guidelines and outlines to help you draw a character Dragging from the origin and base lines creates horizontal and vertical guidelines that will show up behind every character in the font Like guidelines any outlines drawn here will not be used for PostScript creation They will show up gray on the Macintosh or green on the PC behind the characters Hints layer The Hints layer displays hints that define features like vertical stems horizontal stems serifs and cap heights Here you can adjust the hint
135. e people like to kern all the characters in the font even pairs like f or rather than just the most commonly used ones which will naturally result in more kerning pairs Now that you know the basics of font metrics let s cut right to the good stuff Auto Spacing and Auto Kerning located 1n the Metrics menu Auto Spacing Auto Spacing 1s one of the most incredible features in Fontographer As of this writing Fontographer 1s the only program we know of that is capable of doing it Auto Spacing is the process by which Fontographer will examine your entire font and give each character the best possible spacing value that it can It is a tremendously valuable time saving command Some of our famous typographical customers while they sort of sniffed at the idea of the computer algorithmically creating widths and sidebearings for them nevertheless allowed that they would certainly use Auto Spacing at least as a starting point Auto Spacing comes in two flavors Easy and Advanced Easy is what the casual user should choose its parameters have already been set to do the best job for typical fonts If you are really into spacing you can switch to the Advanced mode where you have the opportunity to change lots of values and parameters Vnd Fi ES THE E E LAC EX KG EE E The only control you get to modify in the Easy mode 1s the one which determines how close or how far apart the spacing should be Here s an example We
136. e the format type for the exported material whether to export all characters or just a selected group or the sample text and the point size to use You choose the file to export to from the dialog Exporting Encoding and Metrics works in pretty much the same way but for Metrics you choose to export either kerning or spacing or both types of information and you select the file format to use Macromedia metrics AFM or PFM Print In the Print Sample dialog you can choose the sample type you want to print Choose sample text sample or PostScript file keymap kerning pairs or Characters Printing Sample text offers three choices All characters will print all the characters in the font you are modifying Selected characters will print only those you select from the Font Window Sample text will allow you to print the text you type in the print sample text box Choose Sample file to print a text file with the new font style PostScript file will print a custom PostScript file some sample PostScript files are available in the PSFiles folder or directory You can use these files as they are or modify them with a text editor to define your own sample Key map prints all the characters in the font including offsets widths and key codes and offers you the choice of Selected or All characters and format types Kerning pairs prints the kerning pairs in the current font or in a monospaced System font Characters prints four kind
137. e the latest version of Apple s Hardware System update for your machine Otherwise you may encounter unexpected results You can get this utility from your Apple dealer through local user s groups or from Apple s on line service AppleLink M 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 It contains late breaking information about the product which may not be present in the User s Manual You should read this file before attempting to use the program Registering your software to receive technical support To become a registered user and receive technical support you must complete and return the registration card included in this package Macromedia believes in customer support and wants to resolve any problems you have Our support lines are available Monday through Friday from 6 00 a m to 5 00 p m Pacific Time The technical support phone number for Fontographer is 415 252 9080 Please have your serial number on hand when you call You can also try the MacroFacts faxback at 800 449 3329 or check out Macromedia s web site at
138. ear 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 Some think this results in a cleaner image to view while performing an edit Draw border around paths when in Preview mode when checked causes a dashed border to appear around lines during edits in Preview mode This lets you always see your lines even when dragging them over black areas which 1s not an uncommon occurrence in Preview mode This preference makes editing somewhat slower however and can distort the 1mage of the character while you are editing it Show labels for is useful for Font Blending and multiple master font creation on the Macintosh This preference causes a small figure specifying point number to appear to the right of each control point and BCP if desired This option can be used to determine path direction and path order Having this on will slow editing performance a bit Show coordinates for is a way to have coordinates appear next to points right in the Outline Window It is probably most useful to show coordinates of only the selected points That helps keep screen c
139. ears Choose the appropriate disk drive from the Drives list Choose the appropriate directory from the Directories list Select the names of the fonts you want to install from the List of Fonts or click Select All Click OK to install your font s 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 double clicking 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 Select Install New Font from the File menu to bring up the Add Fonts dialog box You ll see three windows labeled List of Fonts Folders and Drives to help you in locating the fonts to be installed 3 Click on the active folder in the Folders window it should show the default Win95 directory Clicking on this folder brings you back to the root directory C 4 Scroll down until you see the folder where you told Fontographer to generate the ttf fonts and click on that folder The fonts will now display by name in the List of Fonts window directly above the Folders Be sure that the Copy fonts to folder box is checked Select the fonts you want to install or click on Select All and the fonts will be copied into the Windows 95 system fonts folder You
140. east half of the pixel must be in the outline in order for it to be turned on That yields this result Or scaled down this II 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 1t looks like this H To review here are the three H s thus far ll H H and here 1s what the mathematical outline looks like The last of our H s looks better than the other two but unfortunately it is still a terrible looking letter The left stem 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 1s something like this H 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 Hints basically define interesting features such as vertical stems horizontal stems serifs cap heights x heights etc For example in the case of the H there 1s information in the font which says things like I don t care where on the pixel grid the outlines fall the left stem and the right stem must be the same width Hints c
141. ed 1s more important Note than greater resolution Unique PostScript ID This ID is used for caching character images in your printer thereby decreasing printing time Font IDs for new 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 O 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 Bitmap fonts are selected from any application which understands fonts Bitmap fonts are stored in the System file where they are accessible to all programs Bitmap fonts cannot be smoothly scaled so each outline font usually will have several bitmap fonts in different sizes for display purposes FONDs Macintosh A FOND 1s a table that creates the link from the bitmap font to the outline font A FOND is automatically generated by Fontographer whenever a bitmap font is generated It contains several important types of information he Macintosh print manager examines the FOND and if there is an outline font file available in the System Folder it is downloaded to the printer before printing begins If no outline font file 1s found the bitmap font is used The outline font file must be in the System Folder or
142. ed 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 Double click on the System file to open it Select the font you want to remove and drag it and all its bitmap sizes to another folder or into the Trash Close the System file If it s a PostScript font open the Extensions folder and drag the PostScript file the one with the abbreviated name and the laser printer icon into another folder or into the Trash In System 7 1 or higher 1 Quit any open applications Open the Fonts folder in the System Folder Drag the font files both bitmap and PostScript if it s a PostScript font out of the Fonts folder and into some other folder on your disk or into the Trash Removing a Windows font PostScript 1 Open the ATM Control Panel 2 Select the font you want to remove 3 Click Remove 4 Exit ATM The next time you restart Windows the font will be removed from the font list To remove the font files from the hard disk open your psfonts directory and delete the PFB file for the font then open the psfonts pfm directory and delete the corresponding PFM file One step remains 1f 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 Find the section header PostS
143. ed 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 1s selected Fontographer does not change the size of the character s If you wish to make selected characters smaller use numbers below 100 If you wish to make them larger use numbers over 100 You can scale the horizontal and vertical dimensions separately if you wish A 200 horizontal scaling coupled with 100 vertical scaling will make selected characters twice as wide while leaving them just as tall as they were before the scaling operation You can choose whether Fontographer will scale from the Basepoint the Character origin or around the Center of selection or last mouse click if you have selected objects in the Outline Window tip Scale Uniformly Uniform scaling will resize selected characters uniformly with 100 representing the current size Scale relative to the Basepoint the Character origin or the Center of selection Skew The Skew item allows you to skew any character s or selected parts of a character The skewing will occur relative to the Basepoint the Character origin or you can skew around the Center of selection or last mouse click if you have selected objects in the Outline Window Positive d
144. edge of a character 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 1s important since it can attract or repel the reader s eye The four basic computer styles are Plain Bold Italic and BoldItalic Style Merger Macromedia Inc s utility that merges Macintosh styled fonts into one font family Swash capitals Uppercase letters that have flourishes added to them Originally designed to go with Italic typefaces Template layer The layer of the Outline Window where background images and scans are inserted Textbox Within a dialog box any rectangular outline that includes text TTF A file in an outline font format TrueType Font that 1s used both in screen display and in printing Tool palette The collection of drawing tools in the Outline and Bitmap Windows Tracking The overall letterspacing in text Tracking can also be used to tighten or loosen a block of type Some programs have automatic tracking options which can add or remove small increments of space between the characters Transform To alter an image by rotating flipping scaling or skewing Transient font A font which stays in the printer memory only until the current docum
145. edits per character you have 50 x 10 500 undo s floating around If you let Fontographer get rid of these when it runs out of memory you can sometimes reclaim a fair amount of memory In addition to the Throw away undo s when out of memory item there is an Ask before throwing away undo s checkbox This is useful so you will know when Fontographer is running low on memory an alert box will appear asking if you want Fontographer to throw away the undo s Using the keyboard to choose a character This area has to do with typing in things from the Font Window When you are looking at the Font Window and you type a key from the keyboard Fontographer has to automatically choose the cell in the Font Window that corresponds to that key click However there are a couple of choices to be made to decide which character should be highlighted Basically Fontographer can either choose the character which corresponds to the font s encoding vector 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 What is going to happen now can be a little confusing if you re not used to thinking
146. educe the image Switching characters in the Bitmap Window There s a small lock in the lower left corner of the Bitmap Window If the lock 1s filled with black 1n a locked position it locks the current character into that window This prevents a character from being changed in case you acidentally press a character key It also lets you use shortcut commands like Option G or G on the PC to hide the guidelines If the lock is white in the unlocked position you can switch to a different character by typing that character s keystroke s Next and previous character To display the next sequential character choose Next Character from the View menu or use the shortcut Command or Ctrl To select the previous character choose Previous Character from the View menu or press Command or Ctrl Next and previous point size To show the next point size of a bitmap choose Next Point Size from the View menu or press Command or Ctrl The next point size will only appear if you have chosen various sizes from the Bitmap Info dialog in the Element menu and you re not already at the largest point 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 pres
147. egrees of horizontal skew slant the character to the left negative degrees slant right 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 Send backward This item sends a selected object back one layer Font Info In the top of the dialog you will see the name of the current font and its style Next you will see the encoding options If you choose Adobe 9 standard character encoding from the Encoding box Fontographer displays and stores a font with Adobe encoding Do not check this option if your fonts have all the upper 128 characters defined All the numbers in this dialog are in em square units The Ascent and Descent default to a sum of 1 000 units for a PostScript font or 2 048 for a TrueType font refer to Chapter 7 Generating and Exporting Fonts Since a PostScript underline is accomplished by defining a stroked line a certain distance from the bottom of the character the Underline Note Note Note position entry allows you to change the distance between this stroked underline and the characters above
148. encoding open id 386 to make your own custom encoding vector Do not make any changes to id 384 This was just a rehearsal so that you can understand the format required 4 Back in id 386 the resource opens with a 0 in one field To add new fields in ResEdit select the last line in this case 2 and press Command K You will need to add 4 lines type Command K four times After adding all the fields go back to string 1 select the 0 and Note begin entering your data The first field will be 1 for the number of encoding vectors in this resource 6 Thesecond field will contain the id of the new resource you will make which will contain all the character names Select a resource id which has not been used 7 Hereisanexampleofan encoding vector STR 386 l number of encoding vectors 21321 id for resource containing character names Cyrillic name of encoding vector 256 number of chars Il makes the encoding name show up in thedialogs 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 1s 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 Rather than create your own resource by typing Command K 256 times you ll find it faster to copy one of the existing
149. ent is finished printing TrueType Apple s outline font format designed to be used with their System 7 operating software and Microsoft Windows 3 x Type 1 PostScript font Genuine Adobe PostScript or Fontographer Type 1 fonts with hints which provide high 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 Some typeface families have several weights including ultra bold and extra light x height The height of a face s lowercase letters or the size from mean line to baseline of the lowercase x The lowercase x is used for measurement since it usually sits squarely on the baseline and has no ascenders or descenders
150. er side of the deleted point with a single line segment This 1s handy for removing unnecessary points Merging points removes the active point but joins the points on either side so closed paths remain closed and open paths are not split into two pieces See Cleaning Up Paths 1n Chapter 2 for more automatic ways of removing unneeded points Moving a point Moving a point or a group of points can be done in a couple of ways Use the arrow keys to move the point a certain number of em units in any of four directions or drag the point with the selection pointer 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 1s connected to other points you can see the line segments change as you drag If amp rip 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 3 While you re moving the point s the position indicators at the top of the window are continuously updated to show the actual position and distance of the pointer from the basepoint Demagnified move Most drawing programs require zooming to a more detailed view to draw intricate designs Sometimes however this causes a loss of overall perspective Fontographer has a unique
151. er tool YO PES The L guide is for adjusting the left sidebearing the distance from the character origin to the beginning of the actual character outline The guide itself 1s situated at the character origin Simply click anywhere on the line with the mouse button and drag to change this value The R guide does the same thing but for the right side bearing the distance from the rightmost part of the character outline to the width of the character The guide itself 1s situated at the character width Click anywhere on the line and drag in order to change this value The K guide is for creating and adjusting kerning values In Fontographer you kern the currently selected character with the previous character That s why when you select 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 To move through a particular character s set of undo s select that character and then choose Undo from the Edit menu Of course moving the character itself around between the sidebearings is very straightforw
152. ered 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 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 Good news You can print a sample of your choice any time your font is open from any of its windows Fontographer gives you the choice of printing a variety of samples All characters in the font Individual characters Specific typed text Text from a file A PostScript sample with several lines of text A key map showing all the characters in the font and their respective widths codes and offset specifications A complete list of all the kerning pairs in the font A character sample in assorted sizes or just one giant character A sample showing all of the points in a selected character and optionally shows the X Y coordinates for each point Before you go to the Print Sample dialog it is important to decide
153. es Point display To select the type of point display that you want to see when you edit your characters or graphic images choose from the possibilities found in the Preferences dialog First choose Preferences from the File menu Then select Point display from the pop up menu to display the options for viewing points Click on each of the options to see the differences you ll get when you edit For more information on each of the display options refer tothe section Point Display In Chapter 10 Expert Advice E n Note sm ren gu my bara panis n ear EF Panu E BH Ike DNE pa dl B pT T Bur lee cede mi urrinsrd paii Bite A A Ill uvilaa thee krh um Wil pants ieee ci lai i ee urbe leg pairi 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 When you are dealing with very small paths and points that may overlap the screen can get a little full and in those instances you can either reduce the point size or turn off the display of points This is important for premium WYSIWYG in the Preview mode To show control points Choose Show Points from the View menu to turn on the display of points To hide control points If Show Points is already checked choose Show Points from the View menu to deselect it
154. es Fontographer then sends this file to the printer along with the font As in the Sample file print option the file is chosen after the Print button 1s selected This option is only available with PostScript Printers Several PostScript text files are provided with Fontographer 4 1 You may use them as is or you may edit them with any text editor to define your own custom print sample Lamm imr Puri Pl ier e as Key map The Key map option allows you to print a sample for the entire font or only characters that you have selected If you select the All characters option Fontographer prints pages containing all the characters in the font The printed pages consist of rows of characters along with their offsets widths and corresponding key stroke codes Fontographer gives you the option of showing Decimal 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 A character with a normal offset not less than zero will print a key map sample that looks something like this Kerning pairs The Kerning pairs sample type option makes it is possible to print a list of kerning pairs in the font A full page consisting of several columns will be printed showing each pair the number of em unit
155. es is provided for future use by Windows applications a RISE II a Heigl aa FD DER D immis mira irez igge dudas Ire mm Hi r mon ls E pihl B a ESE s ees sl zm Press OK to close the TrueType Options dialog 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 Point Fontographer to the folder where you wish to save your fonts via the Set Folder Directory button 9 For more on choosing the PC Family see the section on FONS Note 10 When all the options have been selected press Generate to close the dialog and generate the font Symbol Encoded PC fonts When you generate a PC TrueType font a checkbox allows for a special symbol encoding option This 1s the same encoding format used in the dingbats font in Windows 3 1 Wingdings Rather than converting your PC font to the ANSI key layout which results in some missing characters Symbol encoding will output every character in your database from the Dec 32 space to Dec 255 caron except 127 and 160 All characters In the normal ASCII Dec 32 126 sequence will remain accessible by striking the alpha n
156. es smoothness even though there really is jaggedness When the printer prints it has to choose which pixels to turn on or off to best achieve the desired 1mage As you can imagine it isn t quite as nice as just drawing smooth curves on paper with a pen To see how that relates to characters and hinting let s do an example We ll follow along as the computer constructs the letter H at a small point size on a low resolution printer First the computer must get the mathematical outline of the H scale it to the requested size and position it in memory over the pixel grid at the requested location 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 1s 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 That gives this result E ee LillLLIEL y IBI CL EN EN EN EN EN EN EN NN 0r Shrunk down to size this Since that was less than an ideal H we obviously need to be more clever Let s try turning on all the pixels which are mostly contained in the outline 1 e at l
157. ets edited If you don t want that choose Autohint from the menu The check mark will go away and autohinting will be turned off for that character Be careful because if you then turn Autohint back on by reselecting it from the menu Fontographer will re calculate new hints for that character When autohinting is on you can watch Fontographer come up with new hints as you edit a character Just make the Hints layer visible check to see that Autohint 1s on and edit the character outline You will see the hints adjust disappear move and change depending upon what you do with the outline This 1s a good way to get a feeling for how Fontographer finds hints Editing hints in the Outline Window You must make the Hints layer active before you can edit hints You do this by clicking on the Hints layer name in the Layers palette You can select hints with the mouse just like you select points Selected hints have a hollow looking arrowhead k L You can select more than one hint by dragging a marquee around a group of hints or by using the standard Shift select method You can reorder hints by dragging them around this 1s useful in the case of overlapping hints PostScript fonts will get the hint that appears closest to the character outline in the case of overlap Hints may also be reordered from the Hint Parameters dialog covered later Changing the direction of a hint can be done by selecting the hint and then ch
158. ewed by the font name The font name is 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 under the Windows menu to filename This will enable you to always know at a glance which file you are presently working on 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 I then made some changes to the font and tried printing again but the changes didn t show up on the second printing What is going on here and what can I do about it Built into all Adobe PostScript printers is some software called a font cache This font cache holds the imaged bitmaps of each of the characters that the printer has recently printed so that it doesn t have to waste time re interpreting the PostScript description of the character but can instead pull the already 1maged bitmap out of the font cache and place it on the page Fontographer Type 1 fonts normally have an Outline ID which can be changed
159. extremely easy to add composite characters made up of more than one character combined in a single character slot to your font So you can now have traditional fractions in all your fonts To create a fraction 1 Go to the Font Window and double click on the 3 to open it 2 Click on the 8 character slot in the Font Window it s not necessary to open the Outline Window to copy the character and then select Copy Reference from the Edit menu 3 Click on the 3 Outline Window and choose Paste from the Edit menu 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 Goto the Transform menu select Scale Uniformly as your first transformation enter 6096 and make sure all the other transformation pop ups say Do nothing Fontographer scales both characters to 60 of their original size 6 Position your pointer away from the characters and click on nothing to deselect everything or simply press the tab key which always deselects everything Then click the mouse on the outline of the 8 A box will appear around the number this represents the composite character s bounding box Composite characters do not show the points you normally see You cannot edit points in a composite character unless you first choose Unlink Reference rip Note 9 10 11 Drag the
160. f the ink stroke The movement of the brush and the look of the marks it leaves is considerably more complex than the workings of the western pen However Chinese calligraphy involves a graphic language of a very small number of simple stroke shapes combined into more complex characters There 1s a particular way to make dots horizontal lines vertical lines lines angled left lines angled right corners and endings of lines You can find these in books on Chinese calligraphy You can also draw with a pen or brush roughly without paying much attention to any calligraphic tradition but the instrument will still leave characteristic marks Those are what you want to remember Turning to Fontographer you might wish to start by copying some calligraphic hand that you admire There are three ways to do this One is by scanning the original in and auto tracing it For the instructions on that method refer back to the beginning of this chapter The second way is without a drawing tablet Choose a couple letters that are most characteristic of the hand you are going to recreate You might start with the lowercase l and o as they contain the basic straight and rounded strokes on which the rest of the alphabet will be Note based One way to do this quickly is to use corner points for every point you place That will rough out the letter for you Then go back and change the points ruling what should be curves to curve points Adjust
161. fi fl f12 f12 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 A family of fonts 1s defined as all the styles of one typeface The group shares a common design but can differ in attributes such as character width weight and posture 1 e Roman vs Italic A typical computer font family unit frequently contains four fonts Plain Italic Bold and BoldItalic in all point sizes To understand and appreciate the advantage of font families imagine having twenty typefaces with four styles each installed in your system How would that look in your font menu It would look like 80 fonts since every typeface would appear four times representing each of its styles It would also be inconvenient to drag your mouse up the font menu and search through the 80 entries every time you wanted to make your existing font bold Using font families improves this scenario in two ways it lets you use the command keys on the keyboard to change the style of the font and it shortens your font menu by three fourths since there is just one listing for each family ra
162. file like this is that it is more pleasant to deal with than AFM or PFM files People who like seeing their metrics information in a big long list can do so via this file They can also edit width and kerning values and even create new kerning pairs by typing them in and entering kerning values Then they can import these metrics back into their fonts A Fontographer Metrics file looks like this FogMetricsFile 1000 emsquare s Output character spacing 17 670 width 1o 190 wrath 19 59 width 20 620 width 2500 width Jd Wudth 309 width 664 width J Dear War elit VSO WIDE 748 width VIS wrxcuh 649 width 679 width T2 9 A LO 575 width 536 width 7089 width Q P mE OU O NW P 202 AS woes 2 59 940 MEO 254 440 width zog duo ed ss ZOO 290 WLAC o Output kerning pairs C 78 kern G 99 kern o 49 kern Dogs 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 So a line like 254 440 width means that character number 254 has a width of 440 em 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
163. g Font Info from the Element menu and typing the values in the Ascent and Descent text boxes TT DH Adding new guidelines Additional guidelines can be set two ways In the Guides layer To create a guideline Ka n Note 1 Select the Guides layer Use the selection tool to drag vertically from the baseline or horizontally from the origin line You can also create a guide by drawing it with any of the drawing tools in Fontographer 1 Select the Guides layer 2 Click on the drawing tool of your choice to draw a guideline Hiding guidelines You can hide the guides by checking on the Guides layer checkbox to turn it off or when the lock icon 1s 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 stroked characters Up until this point in the manual we have been discussing outline characters You create outline characters by drawing a path around the character s perimeter Stroked characters are constructed by drawing just the centerline path PostScript draws these characters by sweeping a pen along the path The pen has a width called the stroke weight which is made up of em units As PostScript sweeps al
164. ge 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 the character Command or Ctrl Bitmap Window The Bitmap Window allows you to edit the various sizes of bitmap fonts that Fontographer creates It works very much like FatBits in a paint type program You can use a pencil 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 1s 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 apear 1f a character s outline extends above the ascender line or descender line If you have selected to preserve line spacing in the Recalc Bitmaps dialog these guides will not appear for that character as they will be the same as the normal ascender and descender lines At the bottom of the Bitmap window is a lock icon When the lock is closed you will not be able to change characters by merely typing the keystroke s for the new character If you click on the lock it will open and you will be able to change characters by simply typing the keystroke s of the new character Press Enter or Return to change the status of the lock You can close all open Bitmap Windows by Option or Alt clicking on
165. graphic display of a character set in Fontographer from which individual character slots may be 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 1s generated for each font but with outline font formats you only need to generate one font file Hints Information embedded to enhance the appearance of characters printed or imaged at low resolutions 72 600 dpi ATM and TrueType can take advantage of hints to render more uniformly shaped screen fonts across the character set Hints layer The layer in the character s Outline Window that displays hint information Italic Best used to set off quotes special phrases and foreign words italic letters have a redesigned structure that allows them to slant to the right The first italic type was designed by Aldus Manutius in AD 1501 and was based on the handwriting style of that time Justified text Text that lines up at both the left and right margins Also known as fully justified Kerning Moving pairs of letters either closer together or farther apart to adjust and improve the space between them Kerning pairs Combinations of character pairs where the space between them has been modified to improve readability Keystroke
166. h Mac and PC versions of rip e n your font and characters maps differ considerably between the two platforms and also within the two platforms The safe way out is to not put anything in the Upper ASCII positions numbers 128 to 255 except standard position international accent characters Put extras into a separate font on the upper lower case keys even though it 1s much less convenient than having all the alternates in one font Or if you re creating fonts in Mac original format put the alternates wherever it s most convenient for Mac users bearing in mind that there are differences between System 6 and 7 key positions Then make a separate font and put the Upper ASCII characters into it on upper lower case keys and supply both fonts for PC users Another aspect of calligraphic font making arises if you decide to make a script face one in which all letters in a word appear joined as if written in one continuous hand It is quite possible to create a font of script letters that will appear when printed out to be written as a continuous line but it 1s not easy The general principle 1s 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 charac
167. he maximum distance below the baseline measured in points The offset is the number of points between the origin line and the leftmost point in the character The width indicator shows us the width of the character in points From outline When you press this button the bitmap will be recalculated in order to correspond with the outline of the character This is useful when you change a character s outlines after having created bitmaps To recalculate bitmaps for more than one character at a time use the Recalc Bitmaps command in the Element menu Magnification You can change the magnification of this window with the Magnification items in the View menu or you can use keyboard shortcuts To enlarge the bitmap s magnification hold down the Command key and Spacebar or the Ctrl key and Spacebar and click anywhere in the window To reduce the bitmap s magnification hold down the Option Command and Spacebar or the Alt Ctrl and Spacebar and click anywhere in the window You can also use the magnifying tool Scrolling The Spacebar switches the current tool to a hand tool that will allow you to scroll the character back and forth in the 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
168. he Bitmap Information dialog will appear Fontographer automatically defaults to include the 12 and 24 point bitmap size You can add to or change the sizes in this list if you like IS C EZE K 7 om sa g ud m m wm Dei den D emm Click OK Fontographer generates the bitmap files and the Bitmap Window of the A appears Choose Next Point Size from the View menu to view the next larger point size available Type Option G or G on the PC to turn off the guidelines if you find them distracting Choose Next Character The character B appears 9 Fromthis view decide which bits to change to improve the character s looks and then click with the pencil tool to remove or add them That s all there 1s 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 1s where all your bitmap drawing and editing takes place The bitmap image includes pixels which are simply dots that may be highlighted to create a pattern on the screen Behind the pixel image is the outline of the character to guide you in choosing the pixels that you want to turn on or off T The Info bar shows the offset and width values for the character The offset value will change to correspond to any change
169. he 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 Click on any character and drag its sidebearings or kerning line to the desired location to affect the amount of empty space that will exist between that character and those on either side of it Key commands to change spacing and or kerning Option Caps Lock H Toggles sidebearings and kerning lines on or off when you click on the screen area not inside the textbox Option Caps Lock G Toggles Guides on or off when you click on the screen area not within the textbox Option left arrow right arrow When a character cell is selected changes the selected character to the following character in the font sequence Option left arrow right arrow When a numeric cell is selected adjusts the values up or down by one unit Holding down the Shift key simultaneously adjusts by ten units at a time Command Ctrl I Views the Next kerning pair Command Ctrl 5 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
170. he font to match the encoding you select 1t won t change the encoding displayed in the Font Window rip tip Cui Fngqrel BEdube lada Fiber Labril bi A EPA 158 Latin fie re Vbkndumn HHkkudmu Lidia gpk kl l AA The most commonly used encodings for the Macintosh are Macintosh and Adobe Standard For Windows the prevailing choices are Windows Windows 953 and Adobe Standard Custom encoding allows for the custom naming of characters The Character Information dialog which is opened by selecting a character and choosing Selection Info from the Element menu contains a name field which allows you to change the character name Custom encoding becomes the default encoding option any time you change a character name Custom character naming is widely used 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 In a Macintosh font ASE will allow for the substitution of 16 characters from the Symbol font see the tip to the left of this paragraph Adobe Expert is the encoding required for fonts known as expert sets These typically include small caps swash caps
171. he information bar looks something like this t US 55 400 55 D 8 Continue dragging to the right until the number underneath the reads 90 You have just rotated the selected points by 90 degrees in the XZ Plane You can also think of it as rotating around the Y axis 9 Choose Paste from the Edit menu You now can apply the next transformation to the copy of the original 10 Click down with the mouse on the baseline 11 Now drag the mouse up while holding down the shift key until the number under the 7 symbol reads 90 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 Choose the Perspective tool from the tool palette 3 Click down with the mouse on the width line and release the mouse button immediately The mouse click will be used as the center of the transformation in the Transform dialog 4 Double click on the Perspective tool The Transform dialog will be brought up ready to apply a 3 D rotation 5 Choose Last mouse click from the Center transformations around pop up menu 6 Setthe XY angle to 0 the XZ angle to 90 and the YZ angle to O
172. he inner point or from the inner to the outer it depends on how we set up the interpolate operation So far the process is fairly simple Now let s consider what can go wrong if the points of the two master figures don t correspond like not having the path direction correct or the ordering of points be the same The points in Figure 2 again have been numbered so you can see what 1s going on The only change from the first example 1s that the inner figure has its points permuted or reordered slightly You should remember this rule Connect like numbered points then add a point halfway between the connected points and connect those halfway points Note in the example how unlike the desired rectangle the resulting diamond shape appears It is likely that you will see something similar as you begin using Font Blend to make fonts Clearly this 1s not an interpolate bug Fontographer does exactly what it is supposed to do mathematically and exactly what you asked it to do when you permuted the points Other aspects of blending make it a little difficult to use but follow clearly from the mathematics Consider the case 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 1s two squares and the inner figure
173. he letter drawing programs the bitmaps are saved on the printer s hard disk or in memory for later use This saving process is called caching The first time a particular letter is printed its bitmap must be generated and cached before it can be drawn on the page Once a letter has been converted its bitmap 1s normally found in the cache and is used directly Paths A path is composed of line or curve segments These segments may be connected the normal case or disconnected such as the dot on a lower case UL Paths may be open or closed A segment of a path is closed if the last point connects back to the first point otherwise it is open Characters may consist of open paths or closed paths but not both Normally a character is constructed such that its outline 1s defined as a single closed path The program that generates the bitmap can then just fill in the outline Some characters such as the letter O have an inside and an outside A simple minded approach to filling such a letter would fill both outlines resulting in a single solid circle To handle this case PostScript has two sophisticated approaches to filling Filling techniques Winding number fill The standard PostScript filling technique 1s called a winding number fill This relies on one path being described in a clockwise direction and the other path being described in a counterclockwise direction A point is outside and thus not filled if a line away fro
174. he place where the mouse clicks Double click on the tool to access the Transform dialog and specify degrees of rotation Click the mouse and drag 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 press the Shift key and click with the mouse and drag you will constrain the movement of the radius to horizontal vertical and 45 degree angles Flip tool The flip tool functions similarly to the rotate tool by allowing you to flip a figure horizontally or vertically centering the movement around the click of the mouse Double click on the tool to get the Transform dialog where you can choose either direction horizontal or vertical 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 Double click on the tool to access the Transform dialog where you can enter horizontal and or vertical degrees for scaling Option or Alt double clicking on the Scale tool brings up the Transform dialog with Scale Uniformly selected as the first transformation Note To scale horizontally and vert
175. he previous character before drawing the current character TrueType fonts Note This 1s an outline font format developed by Apple Computer for use with System 7 and supported by Microsoft Corporation TrueType 1s the primary font format for Windows 3 1 and Windows 95 Type 1 fonts Type 1 fonts are the standard type of PostScript fonts These may be sent to PostScript printers or viewed on screen with Adobe System s program Adobe Type Manager ATM 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 The first is ROM Read Only Memory which 1s unchangeable ROM holds its information indefinitely even when the power is turned off The basic printer control program and several typefaces are programmed into the ROM and thus are not changeable The second type of built in memory is RAM Random Access Memory which can be changed However RAM loses its contents each time the power is turned off Downloaded fonts are put into RAM as is the image of the page to be printed RAM has enough space to hold three to five fonts depending on their complexity
176. here to generate them That s right you can now explicitly tell Fontographer where to put the files it generates In addition Fontographer will no longer create the practically useless AFM field unless you specifically ask for them The Advanced mode has all the rest choice of encoding vectors outline font ID s bitmap font ID s AFM S etc etc etc For more information on Unicode Cope Pages cmap tables input systems keyboard drivers localization etc use a Web browser to search the World Wide Web via http www yahoo com Search for language or fonts and you ll find plenty of info and font nerds to talk to Or check out Multilingual Computing Magazine 111 Cedar Sndpoint ID 83864 208 263 8178 info multi lingual com 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 1s 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 When printing mixed fonts on a line all baselines line up with one another The baseline position does not need to be explicitly specified since it is always at a vertical location of zero Display type Display type is generally used for headlines or advertisements and is
177. hing from basic block printing to desktop publishing While not as Macintosh specific as some of the other works available it covers the hows whens and whys of a whole range of graphic tools including typography art preparation copyfitting and layout film and platemaking traditional photocomposition and typesetting papers and papermaking etc A good general purpose book but overkill for the beginning desktop publisher Type Terminology on the Desktop Richardson Texas Altsys Corporation 1992 is already in your possession in hypertext form included with Fontographer on its CD A hard copy of this award winning booklet defining typographic terms 1s also in the Fontographer package Font amp 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 It includes articles on typographic history the background to many Adobe PostScript fonts technical information and a graphic listing of over 1500 Adobe fonts There s no reason not to get this especially since it 1s free for the asking from Adobe Systems Incorporated Attention Font amp Function P O Box 7900 Mountain View CA 94039 7900 The typEncyclopedia a user s guide to better typography by Frank J Romano New York R R Bowker Co 1984 xii 188 p ill Type and typography the designer s type book by Ben Rosen New York Van Nostrand Re
178. hoose Move as the first transformation 2 Enter a value in the Horizontal text box Note 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 dier D 3 Click Transform k a W E Move an image horizontally and vertically by entering values in both text boxes Rotate The Rotate option 1s 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 2 3 Choose Rotate from the Transform pop up Enter a rotation angle in the text box Click Transform Scale There are two Scale pop up menus Scale and Scale uniformly Both of these options are used to increase or decrease the size of an image by a specific scale factor The Scale option lets you scale horizontal and vertical attributes independently of each other You ll find this feature useful when you want to create condensed and extended versions of a font since you can apply the scaling transformation to the entire font You access the Scale transformation pop up via th
179. http www macromedia com Network Copy Protection No Fontographer is not copy protected We know that most people view copy protection with the contempt usually reserved for root canals and tax audits The last thing we want to do is make it difficult to use Fontographer We have however given Fontographer the ability to detect copies of itself running elsewhere on a network Should you receive the following message Sorry the user 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 1n 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 If you have only one serial number meaning you only purchased one copy of Fontographer you must purchase additional copies of Fontographer in order to run more than one copy at the same time For additional copies call Macromedia at 415 252 2000 or your nearest Fontographer dealer 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
180. humb to use about kerning and whether programs do it typically if the suggested retail price of a piece of software is 400 or over it will support kerning Otherwise it may not There are exceptions to this rule of course but it is usually correct Programs that do page layout Aldus PageMaker Quark XPress etc almost always use kerning the same 1s true for the higher end graphics programs Some word processors spreadsheets databases and cheaper graphics programs still do not support kerning Anyway the point is that a font must look halfway decent without any kerning in it at all because you will probably want your font to look good both in your word processor without kerning and in your page layout 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 100 pairs 1s certainly way too few except for a monospaced font in which case it is way too many 4 000 pairs is clearly to us anyway a sign that the font was poorly spaced and had to be compensated for by over kerning it A happy medium might be somewhere between 400 and 1 500 pairs depending upon the typeface and nature of the particular type designer For example som
181. ically click the mouse and drag in either direction To constrain scaling to horizontal 45 degree or vertical axes just press the Shift key and drag to those locations Skew tool The skew tool lets you skew figures both horizontally and vertically centering the movement around the click of the mouse Double click on the tool to access the Transform dialog where you can enter horizontal and or vertical degrees to skew the selection To skew horizontally and vertically click the mouse and drag in either direction To constrain skewing to horizontal 45 degree or vertical axes just press the Shift key and drag 1n any of those directions Measuring tool The measuring tool measures distances in em units in the Outline Window Press the Option or Alt key and click the mouse to draw a measuring line that centers on the point where you click and extends outward as you drag If you press Shift and click with the mouse and drag you will constrain the movement of the measuring line to horizontal vertical and 45 degree angles 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 With the magnifying tool selected you can drag a box around the area you wish to
182. ically off otherwise 1t would distort the path If you want to turn it on select Auto Curvature One of the most important uses for Auto Curvature is in tweaking paths If you ve copied a bitmap image into the template layer and autotraced it Auto Curvature can make your work easier Here is a template image that was traced 1 You should move the curve point so that it will be at the extrema the outermost edge of any curve 2 Select the point 3 Select Auto Curvature from the Elements menu 4 Move the point and the BCPs update automatically 5 After you move the point move the BCP with the Shift key to make it vertical and conform to the template bitmap ei d 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 In the bad old days before you could control Auto Curvature it would look like this With Auto Curvature turned on it will look like this ri Choose Clean Up Paths from the Element menu and there you have it a D with a prominent Beer Belly E 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 After you re done moving all the
183. ication came to us in 1991 Throughout our review and use of version 4 we had the feeling that we had only scratched the surface of what it can do for type designers like us In the coming year we think we ll be finding out that we ve got a tiger by the tail again Good luck to all and thanks to the Fontographer team Introducing Fontographer Welcome to Fontographer 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 We hope you ll find every aspect of this program easy from our unique approach to learning to the panoramic interface of the program itself and finally to the actual process of creating fonts We want your experience with Fontographer to be so satisfying and painless that when you re through you ll agree that this 1s the best font design program in the world As a matter of fact Fontographer has been the standard for professional typeface and logo design since its introduction in 1986 Before Fontographer typed images could only be produced by using complex expensive and time consuming procedures With the advent of personal computers however typography became
184. ideal world where you can create completely new fonts without ever drawing a thing Picture yourself in this Font Utopia creating new weights of your font new small caps versions and new oblique typefaces without drawing a line placing a point or manipulating a curve Does the very concept sound so far fetched as to be beyond belief Well it s not because Fontographer lets you create completely new fonts by modifying your existing fonts Why would you want to modify a font instead of buying a new one The answer 1s simple You ve invested a lot of money in the typefaces you own Although many talented people create their own from scratch the easiest way to create a completely new typeface 1s by modifying the fonts you already have Fontographer makes it so easy to modify your existing typefaces that you practically don t even have to think about it So if you don t have to think about it what s the point of this section This section gives you some quick ways to make modifications Hopefully it will encourage you to create some outstanding typefaces of your own Steps to modifying your font Note TFHabitat Roman IFHabitat Heavy i i d i d d i L A y I L L d L 7 Open a font Modify it for example you can simply change the weight Save the file Optional Generate an installable font Install the font SS WT eS DPF Put it to work Opening a font Note You start Macromedia Fontog
185. idth you specified in the Freehand Tool Setup dialog Blend Fonts to create new fonts Experimentation 1s at the heart of creating fonts And Fontographer s Blend Fonts option is the ultimate vehicle for creativity Font Blend 1s going to let us create as new fonts as we like without drawing a thing Well not exactly Blend Fonts is very much like our own Macromedia FreeHand s blending of one object to another It helps 1f your fonts are similar in characteristics Imagine that your fonts are at opposite ends of a one dimensional line segment and that you are creating a new font that 1s some percentage of the way between them or beyond them You can edit those intermediate versions as you like and quickly produce a family of weights say from just two master designs like Extra Light and Extra Bold To blend fonts 1 Open a font Font blending needs the least amount of attention when you blend between similar fonts In this exercise we use two from the same family TimesRoman and TimesBold 2 Choose Blend Fonts from the Element menu The Font Blend panel appears Vau Trees Bold e aar Val E P T E Des lineata mil l en Pub e m BH men e b rag eo hera mam KU UN Bier ars I Lm vba paa ls hy are ele fol Care ll mofa dies as Bl O e gerade Forti in mai char ioni The font you opened in Step 1 automatically appears as the Font 1 Source font Source fonts are the fonts you will base your thir
186. iles If checked Fontographer will replace older files with the same names as those currently being generated iner aptiant 51 Miti met ee eumelim Tibrs Gulped BF i file 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 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 Use the Set Folder Directory button to tell Fontographer where you d like to place your fonts The Set Folder Directory button displays a standard Save File dialog which enables the user to select any folder as the destination folder for their fonts The currently specified directory will appear in the Generate Font Files dialog Press Generate to create your font files and close this dialog Note Other Type 3 Formats The Absolute coordinates checkbox creates a file extension of abs This 1s an ASCII text file which 1s often used by sign cutters in their plastic cutting machines which require absolute coordinates rather than the usual relative coordinates PostScript Absolute requires a compressed file so when that option 1s checked the Compressed option should also be checked Lac a dadas i Compuisr Macinicah sl ince Being Tor da malpuri harmat Featicript Tas 3 el ii IH Blesa lo s oriita ls E ore pre evasi If you un
187. in the same folder as the printing application in order to be found for downloading The FOND also links all the bitmap fonts in a family so that custom tuned italic or bold faces may be used in place of inferior derived styles This component of the FOND is independent of outline fonts FONDs also store additional information such as character metrics and kerning Windows FON PC Windows FON is a Windows compatible bitmap font that Fontographer 4 1 allows you to generate Since these are standard bitmap fonts they are limited to sizes between 1 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 will keep those bitmaps in memory and in its database file until you decide to remove them PostScript background PostScript is a programming language developed by Adobe Systems Inc to drive high resolution printers Invented as a standard page description language with a well documented behavior it is used on printers produced by a number of different manufacturers PostScript s generality allows any picture to be described as a program this is how fonts are constructed Each letter i
188. indow are the actual values from the font However Fontographer does not automatically load the font s kerning table This is because the kerning information is found in a different file and Fontographer has no way of knowing where that file might be Kerning tables are stored in various places on the Macintosh the amp rip 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 When you have opened the outline font you can choose Import then Metrics from the File menu That command brings up a standard file dialog Simply select the file which contains the kerning tables and Fontographer will open that file and apply those kerning pairs to your font You should be sure to do this when modifying existing typefaces otherwise unless you create them yourself your font will not have any kerning pairs in it TrueType fonts often have embedded kerning information Fontographer will read in any existing kerning data as it opens a TrueType font Clearing kerning pairs If you import the kerning from the wrong font either by accident or because you were curious about how Helvetica might look with Times Roman spacing you can easily undo this experiment by choosing Clear Kerning from th
189. ine Window The Outline Window shows you the outlines or strokes of the character named in the title bar and allows you to edit them At the top of the window in the info bar you will see position indicators The numbers below them are horizontal and vertical distances measured in em units These distances let you know the distance from the cursor or selected points to certain objects in the window Whenever you select a tool from the tool palette in the Outline Window the information displayed in the information bar will update to accommodate the specific tool and its behavior Some of the indicators that appear are horizontal and vertical displacement angle indicator and length These indicators allow for precise control of your tools The lock at the bottom of the window indicates that you cannot change from the character in the Outline window to some other character by merely typing the keystroke s of that character If you click on the lock it will open and you will then be able to change characters simply by typing the keystroke s of the new character You can also toggle the lock icon on and off by pressing the Return or Enter key Fontographer will not save the state of this lock when you Quit or Exit the program You can close all open Outline Windows by Option or Alt clicking on the close box of any open Outline Window Any open Bitmap or Metrics Windows will remain open Tool palette Pointer tool The pointe
190. ing of individual characters and edit character outlines Changing and hiding layers You can turn layers on and off by clicking on the checkbox next to their name in the Layers palette When the lock icon 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 1s 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 Repeat this procedure to hide the Template Guides and Hints layers substituting T G and H for the O Magnification You can change the magnification of the Outline Window with the Magnification menu item in the View menu or you can use the magnifying tool or keyboard shortcuts To increase the magnification hold down the Command and Spacebar or the Ctrl and Spacebar and click on the place you want to center in the window To reduce the magnification hold down the Option Command and Spacebar or Ctrl Alt and Spacebar and click in the window Switching characters If you need to change the character in the Outline Window to the next sequential character you can use the View menu s Next Character item Command or Ctrl To chan
191. ing 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 Build Serif When you choose Build Serif from the Hints menu with two hints selected one from each side of the vertical stem at its upper end a serif hint will replace those two hints Or you can select four points and choose Build Serif Split Serif Select a double head serif hint and choose this item to split it into two separate hints Flip Hint Direction This item will change the direction of the current hint Generally hints should point inward but there are some exceptions The direction of the hint tells you which way the outline will be adjusted when the pixels are fit to the grid during outline rasterization Hint Parameters You can change the hint parameters for selected characters using the Hint Parameters dialog When you change hints for certain characters you reset the default hints for just those characters Other characters in the font 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 wi
192. ing serifs and stems we recommend using the Frankenstein approach pasting your image together by joining points This can be especially useful if you want to copy the stems from a serif typeface and add them to your sans serif typeface To join points from open paths Dragan 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 Drag around an area to select the points you want to copy in your serif typeface Choose Copy from the Edit menu Choose Paste from the Edit menu to paste the points into the new character in your sans serif typeface 4 Drag the selected path until the points you want to merge cover their coordinate points on the other path or paths 5 Release the mouse button Fontographer automatically joins the points and unites the paths N 4 T sl Bi mi L 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 eith
193. ing the same thing as described above but you ll have the aid of Fontographer s wonderful automatic electronic calligraphic pen In your hand it looks like the cordless pen of your drawing tablet but on screen it draws like a calligraphic pen or a Chinese brush If you have any natural or trained calligraphic talent you will find a drawing tablet extremely useful because you can whip out a calligraphic shape with one swoop of that pen You will want to experiment a bit at the outset with the various nib widths and slant variations available And you will want to try the calligraphy pen alone the pressure pen alone and the combination of the two For imitating western calligraphy you will use the calligraphic pen with or without the pressure mode Try it both ways and see which produces most easily the shapes you have in mind 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 It s easy of course using the Remove Overlaps command but save yourself time by not creating multiple parts in the first place Since this 1s spontaneous drawing you might consider sketching each amp rip letter several
194. inhold Co 1976 Rev ed 406 p 111 History of Printing A Short History of the Printed Word by Warren Chappell Boston Nonpareil Books David Godine 1980 A once over very lightly in 240 pages of large type hitting the highlights in the development of type printing and bookmaking Five Hundred Years of Printing by S H Steinberg Baltimore Penguin Books 1974 A 400 page small print paperback which is still in print this covers Gutenberg through the early 20th century Steinberg s style 1s a little dry Since his death the book starting with the third edition has been edited by James Moran A Dictionary of Book History by John Feather New York Oxford University Press 1986 278 pp is a concise one stop reference in alphabetical order to topics including bibliography and bibliographical terminology the history of printing the physical history of the book including typography binding etc and book collecting It has over 650 articles ranging from a few lines to several pages and 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 Se n Jennett New York and Washington Frederick A Preager 1967 A good overview of the entire art and craft of the book including a lit
195. into the Template layer where 1t will be shown as a grayed out image To move a Template image 1 2 3 Click the Template layer to select it Click the template image with the selection pointer A gray bounding box appears m mM i vci x Move the image into place by positioning the pointer inside the image then dragging it to a new location To resize a Template image Mote 1 2 Click the template image to select it 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 The Auto Trace dialog appears La daa ee e pe te r s z Lana el Lal sm um um s m m Um UN UM UM UM Um 1 You have two options Easy and Advanced 3 Choose Easy and keep the default Curve fit of 5 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 1s better to use as few points as possible to get the shape you desire yo The tighter you set a curve fit the more points will be placed on your When the Tracing progress dialog box finishes generating you will have a completely traced character in the Outline Wind
196. ira dina rela ra F Technically it doesn t make any difference whether the outside path 1s clockwise or counterclockwise but for the sake of consistency between Fontographer s fonts and the proper operation of automatic hints we recommend that the outer paths should be clockwise and the inner paths counterclockwise rip Note 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 1s 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 Correct path direction Path directions can be automatically corrected that is you can tell Fontographer to examine all the path directions and reorder them if necessary Path directions must be correctly set for proper filling of characters Choosing Correct Path Direction from the Element menu tells Fontographer to examine all the selected characters and if necessary automatically adjust their path directions Outer paths will be set to clockwise inner paths to counterclockwise When required Fontographer automatically but temporarily reverses these for instance when generating Type 1 fonts Reverse path di
197. ired starting point Check the Make first button and Fontographer will make that point the first point of the path The Point Information dialog also shows the total number of path contours and the total points 1n the current contour See Point and Path in the illustration below Md E E ihe Eri Em cei L bw mamanta A ELB im ie re cl NEL This 1s 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 1s 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 Font hinting Only about two percent of our Fontographer customers need to concern themselves with hinting This statement 1s not meant to demean the other ninety eight percent Fontographer s autohinting abilities are quite good and should serve most cases well Think of it like this most people fly on commercial airplanes They get around without any problems and are usually happy with their flights Very few of the people who take airplane rides need to know all the physics controlling airplane lift and related phenomena Some people might want to know they could be curious or be interested in piloting their own ai
198. is possible to set up enough classes so that you can completely determine the widths and sidebearings of the entire font by manually setting those characteristics for some small set of base characters Removing equivalence classes 1s quite straightforward simply select the base character delete it and click OK If you open the dialog again you will see that the class has been erased Sometimes you will see constructs like this a d m z in the Apply to these characters field This happens when you had originally entered something like adefghijklmz Fontographer will detect contiguous characters and abbreviate them with a hyphen This can frequently save some space because sets like abcdefghijkImnopqrstuvwxyZz appear much shorter as a z If you want you may also use the a z convention when entering characters The same base character can be involved in different classes For instance one class might connect the left sidebearing of the A with a bunch of other characters while another class could connect the width of the A to some different characters If you need to connect A with more characters than will fit in the Apply to these characters field it 1s perfectly legal to make another class with the same base character and same characteristics to continue the first class Of course base characters for some classes can be included in the Apply to these characters parts of other
199. it The default indicates that this line will be drawn below the baseline The Underline width indicates how wide the underline should be the default 1s 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 With the Retain path coordinates when changing em square checked the entire font will look smaller if you make the em square larger Selection Info When you choose Selection Info a dialog will display on the screen that relates to the type of selection you have made In the Font Window this choice will display character information and in the Outline Window either character or point information will appear depending on your selection In the Hints layer you get the Hint Info dialog and in the Metrics and the Bitmap Windows the Selection Info menu item displays character information Character Information The Character Information dialog allows you to change the fill and stroke characteristics of individual characters for Type 3 fonts Normally a character will be either filled or stroked but you can use this dialog to create characters that are both filled and stroked The Tint Weight Cap and Join options allow you to set the characteristics of a stroked font
200. it will be worthwhile When you choose the Advanced mode presumably after making out your will a pop up menu will appear which can navigate you through four different Auto Kerning screens The first of these dialogs is called Which characters and it looks something like this This dialog lets you tell Fontographer which characters to Auto Kern The first option Open file of pairs allows you to select a text file of kerning pairs Once you do that Fontographer will do its normal Auto Kerning functions but it will only create kerning pairs for the ones specified in that file This 1s good for telling Fontographer exactly what you want done in the way of kerning The Choose letters option allows you to pick ranges of characters to kern For instance under First letter you could simply enter T in the These characters field and for the Second letter field choose All characters That would make Fontographer create only kerning pairs starting with T Or it could be that you only want Fontographer to create kerning pairs among the most commonly used characters in English anyway in which case you would choose Upper case lower case numbers and punctuation 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 1s called Technique and it looks like this The technique screen allows you to choose different kerning techniques Directi
201. ither using copied images from other characters or scanned images for tracing Refer to Chapter 2 Creating New Fonts if you d like more information about tracing a scanned image 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 For practice import any Encapsulated PostScript EPS image created in a drawing program like Macromedia FreeHand or Adobe Illustrator or use the art file torch eps provided on your Fontographer disks 1 Open a font in Fontographer and from the Font Window select and open a character s Outline Window You can delete the character outline from its Outline Window if you need to by choosing Select AII from the Edit menu and then pressing the delete key 2 Select Import from the File menu and then select EPS from the submenu 3 Select the PostScript file named Torch eps from the Fontographer Sample Files folder or directory or choose your own Macromedia FreeHand or Adobe Illustrator EPS file Fontographer automatically imports the image into the character s Outline Window The image will be scaled to fit between the character s
202. l appear and like some of the others in Fontographer a pop up menu at the top of the dialog allows you to navigate through the various Preferences screens Preferences are divided into four areas General preferences Editing behavior Point display Windows and dialogs General preferences Options for Undo 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 1s 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 While that allows you to go back to any character you have edited open up that character s outline window and have all your undo s ready and waiting it does eat up some memory Unless you simply don t care about memory requirements maybe you have virtual memory or lots of RAM we recommend setting this preference between 10 and 20 depending upon how often you like to undo and how far back you like to go Sumber ai arcda TN vier amay miou hen anmi ci rreemarny EJ Bak briers ibra ning amag grecia The other two items in the undo area have to do with memory considerations When Fontographer runs out of memory it can throw away undo s to free up some memory For instance if you have been running Fontographer for a couple of hours edited fifty characters with an average of ten
203. lass 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 Switching to the Advanced mode causes a pop up menu to appear at the top of the dialog which allows you to move through three screens of Auto Spacing controls The first dialog is the Which characters dialog rege 1 F LEE ere a una nns tHe ld ae ri a ee Har ei Vrir ird cheese irri ia liar med cede The which characters dialog allows you to tell Fontographer which characters should get their widths set and which characters should be considered when choosing optimal widths The First letter field defines which characters should get new widths The Second letter field describes which companion characters Fontographer should consider You may not want to have Fontographer set the widths of every character in the font Suppose you have manually set the widths for the uppercase and lowercase characters By selecting other characters in this field you can have Fontographer space the rest of the font but not touch the 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 By changing the selection in the Second letter field you can optimi
204. les of bitmap Fontographer will read the bitmap screen fonts from the file and store them in the currently open and selected database so you ll be able to generate these bitmaps into a bitmap font file anytime you generate a new font L te 3 Now you can go back and hand edit VOUI added characters if you O like Chapter Five Metrics Spacing and Kerning Spacing Kerning Auto Spacing Auto Kerning The Metrics Window Importing amp Exporting Metrics Advanced Metrics Advanced Auto Spacing Advanced Auto Kerning Font metrics 1s 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 If you are producing a logo or eraphic font that relies mostly on shapes rather than words you might not need to use either kerning or spacing information Or if you are a novice and you are just playing around with fonts and aren t yet ready to pursue the finer details you might delay reading this section until later on Professional type designers usually do use metrics when they create a font There are a few good reasons for doing this which you may or may not already know The untrained eye may not notice kerning and spacing in printed text but any reader will experience text as more difficult to perceive if it has not been well kerned and spaced We know that our brains like for the type to coalesce in meaningful grou
205. like those at your service bureau Macromedia recommends that you assign font numbers ranging from 1 024 to 3 070 to try to avoid those conflicts Conflicting font IDs are automatically renumbered during font installation but this renumbering can cause confusion when the font is used Many Macintosh programs identify fonts by ID number not by name Thus if you move a document from one computer to another the displayed fonts may change if numbering conflicts occurred during font installation The best way to avoid this problem is to 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 1s 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 For instance don t enter a menu name of Skipper for a font named Gilligan Creating bitmaps for cross platform use Because of the difference in monitor display resolution between the Macintosh and the PC you ll need to use the table below to create bitmaps at sizes that will display properly on both platforms You ll notice that a few NFNT font sizes will not be available for cross platform use The table isn t all inclusive so you can create larger bitmaps in the same proportions as those shown in the table FROM th
206. little box There were about ten Bitstream type designers in the room and we all gasped I climbed upon the table to get a closer look and sure enough there was a letter on that tiny screen But 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 B zier tools At first I thought I had a tiger by the tail But for me used to the real estate of the big screen and the point structures of Bitstream outline fonts this toaster font design system was like painting a picture through a porthole A bit later though the Mac II came out It didn t take me long to convince the powers at Bitstream that corresponding with our clients would be a lot easier if I had a more powerful machine and a bigger screen and a LaserWriter and a 300 dpi scanner I can t remember how I got the scanner I think 1t had something to do with OCR The first upgrade of Fontographer also was bought and now I was able to cook I started making characters that were much more complex than what we could make on our proprietary system and I was making them in much less time But still I wasn t making fonts I will never forget the first tim
207. ll appear with horizontal lines defining its parameters You can alter a zone s size by dragging on the upper or lower part of its indicator Selected zone indicators appear hollow on each end Autohint Use Autohint to recalculate hints automatically when you edit character outlines Once an outline has been edited new hints will be calculated to match the new outline Autohinting is turned on if you see a check mark beside it in the Hints menu To turn it off select it from the menu and the checkmark will disappear The Help Menu PC Only Contents Browse through the topics 1n the Contents dialog to navigate the on line Help provided with Fontographer 4 1 for Windows Keys The Keys dialog lets you access on line Help by typing key words How to Use Help Look here for detailed information on using and customizing the on line Help provided with Fontographer 4 1 for Windows About Fontographer ocn 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 When the lock icon is in the locked position pressing the following keys will access the corresponding tool Outline tools Bitmap tools Pointer 1 Rectangle 1 Straight line 2 Multigon 2 Hand 3 Oval 3 Pe
208. ll change to a calligraphic pen icon Note 8 Choose Preview from the View menu and turn off Show Points T E E EN 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 E IEE CAE 7 Choose Remove Overlap from the Element menu Fontographer removes the overlapping area and your calligraphic character is complete 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 You can use Fontographer to simulate a flat nibbed pen or a Chinese brush any of the variety of instruments with which people have written with calligraphic panache over the centuries Start by taking a look at the past and present of western eastern or middle eastern calligraphy Your local library or bookstore s graphics section will have books with samples of the work of ancient and modern calligraphers Try working with a calligraphic pen or brush You don t have to be a whiz at it You just need to pay attention to the limitations of the medium Try holding a wide flat nibbed pen at a 45 degree angle and making vertical horizontal and
209. ll the characters and set their width to a chosen number of units Fontographer will set them all at once If the spacing of your characters 1s too tight or too loose you can use the Change width by em units option to change the width of selected characters by a specified number of em square units If you need to increase or decrease the width of selected 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 If you press the Option Alt key and choose Equalize Sidebearings the right sidebearing will become the same width as the left Clear Kerning Pairs This option allows you to remove all kerning pairs from your font You may wish to do this before choosing Import Metrics for a font As a precautionary measure a warning message allows you to Cancel this option before Fontographer deletes all the kerning pairs The Window s Menu Open Outline Window Select Open Outline Window to view or edit outlines Open Bitmap Window Open Bitmap Window will open an existing bitmap If none exist the dialog will
210. ller point size Snap to Points Choose Snap to Points to turn this item on or off Snap to 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 You can change the grid size in Preferences The Element Menu Transform The Transform menu item displays a dialog that lets you choose various transformations in the Outline Window You can choose to center transformations around the origin the basepoint the center of selection or the last mouse click and you can make up to four transformations simultaneously Flip The Flip item allows you to flip any character s or selected parts of a character The flip can be either horizontal or vertical and will occur relative to the Basepoint or you can flip around the Center of selection or the Character origin if you have selected objects in the Outline window Move The Move item allows you to move selected objects a specified distance horizontally vertically or both Rotate The Rotate item allows you to rotate any character s or select
211. lling up the printer s memory with permanent fonts 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 The books listed here are just a few of the many hundreds that have been written on the subject of typography over three centuries but they will provide an excellent start for background reading in this area While many of the works listed are classics in the field not all of them are currently in print Those that are not available from the publisher or from reprint houses such as Dover Publications are generally available at most large libraries and may often be found at antiquarian dealers who specialize in the field of Books about Books A number of such dealers are listed at the end of this bibliography Books marked with a bullet should be the easiest to find Overviews of Printing Types Printing Types An Introduction by Alexander Lawson Boston Beacon Press 1971 is a short 120 pages easy to read overview that is exactly as advertised an introduction For over thirty years Lawson has taught a course in the history of printing types at the Rochester In
212. llipsis perthousand notdef questiondown notdef grave acute circumflex tilde macron 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 A amp tm breve dotaccent dieresis notdef ring cedilla notdef hungarumlaut ogonek caron emdash notdef AE notdef ordfeminine notdef Lslash Oslash OE ordmasculine notdef ae notdef dotlessi notdef notdef 198 199 200 201 202 203 204 205 206 207 208 209 224 225 226 221 228 231 232 233 234 235 236 240 241 242 244 245 246 247 Islash oslash oe germandbls notdef 248 249 250 251 252 255 Windows 3 1 Encoding vector Char name Dec notdef 0 31 space 32 exclam 33 quotedbl 34 numbersign 39 dollar 36 La percent 37 amp ampersand 38 i quotesingle 39 parenleft 40 parenright 41 asterisk 42 i plus 43 comma 44 hyphen 45 period 46 slash 47 0 9 zero nine 48 57 colon 58 semicolon less equal greater question at A Z bracketleft backslash bracketright asciicircum underscore grave a Z braceleft bar braceright asciitilde notdef quotesinglebase florin quotedblbase ellipsis dagger daggerdbl circumflex 59 60 61 62 63 64 65 90 91 92 93 94 95 96
213. ls 7 Draw an L 8 Turn on Preview to see what your character actually looks like End caps and joins There are three types of end caps butt round and square Butt end caps stop right at the end point of the line Round end caps project a semicircle out from the end point This semicircle has a diameter equal to the stroke weight and center point at the end point Square end caps project out one half the stroke weight in the direction of the path There are three types of line Joins miter round and bevel Miter joins extend the outer edges of the lines until they meet at an angle like the corners of a picture frame 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 i areal arre Cx Pen dle I sm uaiis Laram Cap Framed deim Brame lop et gen Fen melito Doo pi ila Pei a AG 3 Entera Pen width value 4 Click OK Fontographer automatically changes the stroked character into an outline character D m The Expand Stroke command can also be used to automatically change your stroke
214. lue into that field You can easily tell if typing a new character will 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 If there is a blinking cursor on the other hand the new keystroke will simply be inserted into the existing cell contents at the location of the blinking cursor The spreadsheet area The spreadsheet area has numeric displays for all the entities 1n the character display section the character width left sidebearing right side bearing and kerning values To activate a cell 1 Click on it and it will become highlighted 2 You can delete cell contents paste in new values or type in new values 3 To have a newly entered value take effect be sure to hit the Return or Enter key If you simply move to a width cell for instance and type in a new number nothing will happen until you hit Return or Enter click on another cell move to another cell change to a different character previous next or click in another view To move from cell to cell You can use the arrow keys or the Tab key or You can simply click on a new cell with the pointer Shift tab moves backward through the fields just like it does in
215. lutter down Choosing to show coordinates will also slow editing Windows and dialogs Note Window preferences PE Pine ee Big E ee ee e sl m op BA hte arie e lr es Automatically fit characters to windows when checked essentially performs an automatic Fit in Window command to be performed every time the Outline Window gets resized 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 Dialog box Remember dialog box positions when checked tells Fontographer to open up each dialog box at the same place where that particular dialog box was last positioned This is a handy way to have different dialogs appear in different places rather than always centered in the screen Remember dialog box values when checked will cause Fontographer to remember all the values of all the controls in each dialog box even if you quit Fontographer and start it up later This 1s a time saver for those dialogs where you frequently have to enter the same values or choose the same settings Defaults This button is a fast way to throw away all of your Preference customizations and start agai
216. ly or you can use the same kerning and spacing information from one font for others that kern and space similarly So whether you are a novice or an experienced graphic designer Fontographer allows you to assign your characters and graphic images to any key or combination of keys and gives you the added ability to instantly repeat and resize these images in any application Fontographer makes it easy to create new typefaces or add your logo to existing typefaces Fontographer s drawing tools help you create a professional quality character in minutes and print that character on any Post Script or TrueType compatible printer Now with Fontographer and your personal computer you can create designs that rival those produced by professional typographers How to get the most out of your Fontographer materials Ti Our User s Manual is designed for both Macintosh and PC users We placed keyboard alternatives after certain menu commands the Macintosh command is always followed by the command for the PC Get into the habit of using these quick commands that our more experienced users prefer For basic information about using Fontographer on the Macintosh and for information about how to set up Macintosh multiple master fonts and KHCRs refer to Using Fontographer on Your Macintosh For the PC refer to Using Fontographer on Your PC For an update on the changes made to the newest version of Fontographer see the What s New guide for c
217. m another file You can select whether or not you want to import bitmaps into the internal bitmap list or just into the Template layer or you can do both You can also import EPS outlines into a character When you import Metrics you can choose to import only kerning information or spacing information or both types or ascent descent When importing ascent descent Fontographer looks for a bmap or a TrueType font When selecting the bmap corresponding to the original PostScript font we read the original ascender descender information found in the FOND resource You can also choose the kinds of files you want to appear in the dialog display Fontographer database files TrueType files AFM files PFM files and Macromedia metrics files This allows you to easily recognize your files and select the right one for importing On the Macintosh you can also import a specific character s from an installed TrueType font This comes in handy when you wish to use specific characters from 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 When you choose EPS or PICT a dialog appears allowing you to choos
218. m that point in any direction crosses exactly as many counterclockwise paths 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 Even odd fill Macintosh The other filling technique is called an even odd fill A point is outside and thus not filled if a line away from that point in any direction crosses an even number of paths regardless of the path direction In the case of the O even odd filling would have the desired result even if both paths were clockwise Fontographer will fill the paths properly as long as the paths do not self intersect Metrics PostScript stores auxiliary information in the character metrics table This contains information such as the width of the character 1ts origin and its bounding box This table is generated automatically by Fontographer as you edit the character The only direct user interaction with the character metrics is specification of the character width The width 1s the distance by which the drawing pen is advanced before starting the next character The origin point of the current character 1s aligned with the width point of t
219. mage in Fontographer by selecting any one of the Magnification submenu options Fit in Window will fit the character in the window The other choices magnify at various levels 6 25 12 5 25 50 100 and 200 Next Character This item switches the currently selected character to the next character of the font Next Kerning Pair If kerning pairs have been created for a font you can choose Next Kerning Pair in the Metrics Window to change the currently selected kerning pair to the next one in 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 Previous Kerning Pair If kerning pairs have been created for a font choose Previous Kerning Pair in the Metrics Window to change the currently selected pair to the previous one in the sequence of kerned pairs Previous Point In the Outline Window choose Previous Point to change the selected point to the previous point in the path s sequence of points Previous Point Size This item switches the size of the bitmap character in the Bitmap Window to the next sma
220. me all your files so that they conform to the DOS 8 3 naming conventions Make a record of the original file names minus the next extension which isn t used on the NeXT Use the default transfer in Apple File Exchange to copy your NeXT fonts to a DOS floppy Once you have copied them from the DOS floppy into your NEXTSTEP drive rename the DOS files with their full NeXT names Installing PostScript fonts in NEXTSTEP rip 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 Otherwise currently running applications won t see the newly installed fonts 2 If you are going to install your fonts into Library Fonts log in as yourself If you are going to install your font into LocalLibrary Fonts you must have access to that directory which usually means you have to log in as root 3 Create a new folder in the Fonts directory and move both the PostScript and afm files into it 4 Change the name of the folder to the name of the font and add a font extension If you named your font MyCondensedLight Italic then you should name your folder MyCondensedLight I
221. merical value describing the distance necessary to define a kerning pair This value is 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 By controlling the spacing of the sample set used to calculate kerning pairs you influence the final result of your autospacing The useful range of this value 1s 10 80 with the best results being in the 20 30 range Because this procedure is very complex our advice is that if you feel the need to adjust this field do so and see if you like it If all of this sounds too complex then don t worry about this field the default value will give you a good answer Spacing direction allows you to have Fontographer change spacing only by making characters narrower tighten or only by making characters wider spread or whatever 1s needed spread and tighten Spacing technique is another difficult to document feature Examine minimum distance tells Fontographer to calculate spacing by looking only at the smallest distance two characters are from each other For serif fonts this can result in loose spacing because serifs frequently come cl
222. milar print header The gray box that occupies the left corner of the header indicates the print sample type For instance 1f 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 The rest of the box will show the name of the font the font size any applicable textual information and the date and time of printing This 1s useful for archiving filing and other quality control procedures Chapter Seven Generating and Exporting Fonts Easy or Advanced Macintosh Fonts Windows Fonts NeXT amp SunPostScript 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 1s 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 Likely you ve noticed the message displayed when you save your font Writing Fontographer database You can try to install this database file as many ways as you can imagine and it will never work as a font because it has not been encoded into the proper structure Fonts are resources which the system must have stored in a particular manner in order to be shared with applications which
223. n period f slash Zero one two three four five SIX seven eight nine colon semicolon less equal greater question at A Pe co ax t ded ds dE i D E Fe 0 Fe 6 2 e op Ze MO dex di Fe lb 69 70 71 72 73 74 75 76 TI 78 79 80 SI 82 83 84 85 86 87 88 89 90 91 92 93 94 0045 0046 0047 0048 0049 004a 004b 004c 004d 004e 004f 0050 0051 0052 0053 0054 0055 0056 0057 0058 0059 005a 005b 005c 005d 005e u Ww dv O Z K m OE Q m e lt x Z lt lt cC Z bracketleft backslash bracketright asciicircum 95 96 977 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 005f 0060 0061 0062 0063 0064 0065 0066 0067 0068 0069 006a 006b 006c 006d 006e 006f 0070 0071 0072 0073 0074 0075 0076 0077 0078 underscore grave a b 121 122 123 124 125 126 161 162 163 164 165 166 167 168 169 170 171 172 174 175 176 177 178 179 180 181 0079 007a 007b 007 007d 007e 00al 00a2 00a3 00a4 00a5 0026 0027 00as 00a9 00aa 00ab 00ac 00ae 00af 00b0 00b1 00b2 00b3 00b4
224. n 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 Double click on the STR icon Open id 386 WAIT first take a look in id 384 Don t make any changes though You will see a list like the one that follows Each line is a separate field in the resource J 2131 7 Adobe Standard 256 1 2 9 Adobe Expert 2506 l 19800 Macintosh Expert 200 l The first line 7 refers to the number of strings in the resource This resource has 7 strings which in this case means seven encoding vectors The next four lines comprise the first string in this resource They set up the Adobe standard encoding vector The 21317 is the STR id in which you will find the list of 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 1s the 1 This indicates that you want the encoding name to show up in the dialogs If you do not want it to show set this to 0 We have done this for TrueType glyph encoding Now that you have seen the format for setting up your
225. n pointer That s all there is to it So if your font doesn t contain the ligature you want you now know how to create your own with Fontographer In some word processing and page layout programs you can set the preferences to automatically substitute curly quotes for straight ones or the fl ligature if you type fl For the substitutions to occur you ll need to be sure to use an Adobe encoded font Creating a condensed character or font Note Fontographer has the ability to modify character images to produce interesting special effects You can create these effects in either the Outline Window on one particular character or the Font Window on the whole font For example you can create an oblique font by selecting all the characters in the Font Window and skewing them 12 degrees like we did in the earlier exercise To skew a character Or you can create an extended font by increasing the horizontal scaling factor of the font Your options are limitless You can also create a condensed font by scaling the character 8096 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 m m xp p il 2 Choose Transform from the Element menu The Transform di
226. n with Fontographer s out of the box defaults for everything Font blending the technical details Font Blending introduced earlier in the section Blend Fonts to create new fonts in Chapter 2 1s a very easy intuitive and powerful feature of Fontographer For casual use you don t have to know much about it For more industrial strength use however there are some technical issues you might want to know about Mastering a few key concepts will allow you to get the most out of Font Blending Fontographer s Font Blending or interpolation allows you to take two extreme variants of a typeface then automatically generate any number of intermediate 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 even gives you some powerful tools like Change Weight and Remove Overlap to help produce those key designs quickly from a single base font Typically you will not be able to successfully blend two entire fonts together there will always be a few problem characters which can t be interpolated You will know when this has happened because Fontographer will display an alert saying that
227. nch Printed resolution refers to dots per linear inch See dpi Right justified Type aligned with its right margin Also known as flush right Sans serif A typeface with no counterstrokes at the end of each stroke Scale To change the size of a character or image by altering it proportionally Scan To digitally capture an 1mage and save it in a format that can be manipulated or altered from within a computer application the image can be autotraced in Fontographer thus creating a character with editable outlines Screen font Bitmap fonts used for screen display Script Letters are joined and should not be confused with cursive which are not connected Since script is difficult to read its use should be limited to a few lines at a time Early script typefaces were developed in the sixteenth century and were based upon formal cursive handwriting Scroll bar The window bars containing arrows that allow the document to be moved so that other parts of it become visible Serif A typeface with counterstrokes at the end of each stroke Set width The width of a letter and its surrounding space the space needed to set a line of text in a specific typeface Some programs have tracking to adjust the typeface to make 1t set looser or tighter Also known as advance width Sidebearings The distance between the origin and the left edge of a character left sidebearing and the distance between the width line and the right
228. ncil 4 Straight line 4 Eraser 5 Calligraphy pen 5 Marquee 6 Pen 6 Move 7 Knife 7 Measuring tool 8 Curve point 8 Magnifier 9 Corner point O Tangent point In the Font Window the left and right arrow keys will move you to the previous character or to the next character The up and down arrows select the character in the row above or below the present character 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 1s 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 Shift arrows move the selected points in the direction of the arrows by 10 times the default setting In the Metrics Window use the left right arrow keys to move to the next or previous character in the screen display when a character is selected 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
229. nd x the cap height line H and O and the ascender line d and I Since the zones cannot overlap the ascender zone may not be found The Other blues are based on the bottoms of characters such as the descender line in characters g and y Choosing Vertical Alignment Zones from the Hints menu brings up this dialog These fields are named after Bob Dylan s famous hinting inspired ballad Tangled up in Blues Well maybe not we don t really know why these fields are called Blue values and Other blues Of course we know why they are in this dialog we typed them in that way What we don t know is why the PostScript hinting variables these were named after have anything to do with the color blue But they do and once again you are encouraged to look at Adobe s Type One Font Specification which covers the ins and outs of PostScript 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 If that button 1s inactive that means you haven t edited anything yet so the recomputed values would be the same as those which are currently showing Fontographer will read in all the bl
230. nfluence on how many kerning pairs are created unless you limit Fontographer to a specific number of pairs which you can do in the How many and how much screen This value tells Fontographer when to make kerning pairs and when not to When Fontographer is considering a particular pair of letters and the kerning amount that Fontographer has decided that pair needs 1s greater than or equal the reference value 20 in this case then those two characters are made into a kerning pair If the kerning value Fontographer came up with for those two letters 1s smaller than this value then it is deemed a trivial kerning pair and Fontographer will not create a kerning pair for those two letters You could sum up the preceding paragraph by saying that the size of every kerning pair Fontographer makes will be greater than or equal to the reference value you choose Therefore the larger the number you enter the fewer kerning pairs will be created the smaller the number the more kerning pairs will be created Once you have done all the kerning you think your font needs you can do Auto Kerning one last time step up that value to 100 or 150 em units and be assured that the most severely needed kern pairs will be created For instance you might want to have kerning pairs involving just the upper and lower case but you also might want to have 10 or 20 pairs involving the accent characters or the symbol set to ensure that the most severe cases are cov
231. nging your work Here 1s an example of some potential kerning pairs as seen in the Metrics Window in an unkerned state ToWaYoAV Now we ll apply Auto Kerning with a slider value of 60 which yields this loWaYoAV 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 That is because in the Easy mode Fontographer tries to kern only the more useful pairs you don t usually see a lowercase letter immediately followed by an uppercase letter so it didn t create a bunch of unnecessary kerning pairs This behavior may be overridden The controls for this are located in the Advanced mode of the Auto Kerning dialog Just for comparison s sake here are the resulting kerning pairs for a slider value of 20 P Walp With Fontographer s Auto Kerning you can try different values and see what you get Just like with Auto Spacing Also like Auto Spacing you ll find a ton of hidden ability conveniently tucked away in the Advanced mode The controls in the Easy mode are suitable for 90 of our customers Don t feel obligated to wade through the Advanced mode parameters unless you really feel compelled Important To get the best results you should Auto Space your font first and then Aut
232. nia edition This falls somewhere between the Ogg and Nesbitt books from Goudy s unique perspective as the most prolific type designer of the twentieth century 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 An ABC Book ABC of Lettering and Printing Types by Erik Lindegren New York Pentalic nd ca 1976 A survey of type calligraphy and design with examples of work from all periods with an especially strong representation of lettering by Swedish English German and American scribes and designers A lively well designed introduction to letters Writing Illuminating and Lettering by Edward Johnson New York Taplinger 1980 The comprehensive calligraphy manual by the man who led the twentieth century revival of calligraphy Johnson s influence on English American and German lettering and design was immense History of Lettering by Nicolete Gray Boston David Godine 1987 256 p Type Designs from Various Periods Art of the printed book 1455 1955 masterpieces of typography through five centuries from the collections of the Pierpont Morgan Library New York by Joseph Blumenthal
233. ning Assistance Kerning Assistance provides a table where you can name kerning pairs by typing characters in to columns 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 Choose the characters you want to apply the metrics settings to from the categories under Which character These include A Z a z 0 9 Punctuation Accent characters Symbols or Selected characters Add any other characters to apply the setting to in the provided textbox The next area in the dialog tells you What to do You can choose to set the sidebearings or width according to a particular character s measurement or you can pick an em unit value to type in to set the width and or sidebearings for the selected characters You may also add an amount to that specification either in em units or as a percentage of the distance represented by the character s metrical measurements or the value you chose Set Width This dialog allows you to set the width of any selected character s If you are creating a monospaced font select a
234. nt Dragging a control point s BCPs The BCPs for each of the three different kinds of points behave in different ways A curve point s BCPs align in a 180 degree angle whereas a corner point s BCPs move independently of one another The tangent point S BCPs move only along the line of its slope Dragging a curve point s BCPs 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 Moving or adjusting one of the corner point s BCPs does not move the other BCP or its attached segment rip 2 Hold down the Option or Alt key click on the point and drag out from the control point amp tip Dragging a tangent point s BCPs A tangent point s BCPs always constrains to the tangent that is why they are named tangent points Consequently a tangent point s BCPs tip can never be moved away from the tangent line Moving the BCP will not change the slope of the curve The Option or Alt key can be used to select the BCPs that lie on top of a tangent point Retracting BCPs As we discussed earlier y
235. nt and path preferences Path display You can control the way paths appear by setting options in the Preferences dialog Choose Preferences from the File menu Then select Editing behavior from the first pop up menu in the dialog Next choose the radio button relating to the path behavior that best describes how you want paths to act when you select them ien i pali il vus Lo LETTE E MERRNI GE On TP ral F kisi p SE Fa PE palT You can drag paths as a whole To choose this option click on the Select and drag the path radio button 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 7 Instead of having to manipulate control handles to regulate the shape of the segment you can drag the line in any direction The outline of the original position of the line stays on the screen as you drag enabling you to go back to your starting place Of course you can also undo these actions by choosing Undo from the Edit menu Choosing the Do nothing option results in no action taking place when you click on a path with the mouse In order to move the path you will have to move the control point or its BCP handl
236. nt 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 sa dm dm Ao MONI TA Ir rre dk af lc oc amp Pal rom rr roma onm ET Changing bitmap views Enlarging using the View Menu You can enlarge the bitmap image by selecting Magnification from the View menu In the submenu you can choose a magnification level for the display of the bitmap image When you choose 100 you are selecting the actual size The other choices offer you the bitmap at 2 4 8 and 16 times its actual size The corresponding command keys are as follows Fit in Window Command Ctrl T Actual size Command Ctrl 1 200 Command Ctrl 2 400 Command Ctrl 4 500 Command Ctrl 8 1600 Command Ctrl 6 rip Note To enlarge using the magnifying tool 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 r
237. nter 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 Inserting points In general with font characters and other graphic 1mages the fewer points you include the more graceful the image On the other hand there are situations when you need to add points to get more control One professional typographer Judy Sutcliffe recommends roughing out characters by drawing them in an outline form with corner points and then returning and substituting other kinds of points where needed With whatever process you use for building images or characters there will be instances where you want to add points to a path so you can more easily control the path s shape To insert a point 1 Select the appropriate control point tool or the pen tool 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 amp rip
238. nts and find new ones Autohinting is on by default so when you edit a character its hints get recalculated This 1s usually what you want to happen If you change the outline you don t want to still have the hints for the old outline you want new hints to match the new outline which 1s what autohinting gives you However sometimes you may want to make extremely minor tweaks to the outline and keep the exact original hints You can accomplish this by turning Autohinting off in the Hints menu the Autohinting item is essentially a toggle when it is on as indicated by a check mark you turn it off simply by selecting it Important If you turn autohinting back on it will re hint the selected characters Usually that s not a problem because you either want Autohinting or you want manual hinting you rarely want to switch between them To preserve hints for the entire font go to the Font Window Select All and then turn Autohinting off To rehint the entire 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 1s that Fontographer has to change the outline format from quadratic to cubic Using a resource editor to tweak Fontographer 4 1 on your Macintosh The tips and notes in this highly technical section are in
239. o Kern it The Metrics Window Since most metrics issues involve how characters look in relation to one another you might expect there to be a way of simultaneously viewing characters from within Fontographer There is and it 1s Tie cleverly called the 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 1s a theoretical maximum of 255 characters however the practical maximum is probably considerably smaller than that Basically the fewer characters there are In the window the snappier Fontographer s performance is going to be In our experience most people never put in more than about ten characters at a time If you select some characters in the Font Window and then open the Metrics Window it will appear with those selected characters automatically showing in the window To view even more characters at once you can of course open many different Metrics Windows at the same time The large area in the middle of the window is called the character display area and that s where the actual characters are shown They are all positioned next to each other according to the spacing information set up in the font Kerning pairs are also shown in this area
240. oard Copy Reference Copy Reference copies a reference of a selected character into the Clipboard which can then be pasted to allow layered objects You must use Copy Reference instead of Copy if you want to create a composite character Unlink Reference Unlink Reference relaces a referenced character with explicit paths Select All Select All selects everything in the currently active window and layer From the Font Window you can choose Select All to select all the character slots that are filled Option Select All Alt Select All selects all slots even 1f there are no paths in them Duplicate Duplicate makes a copy of the selected object s and leaves 1t on the screen slightly displaced from the original s Power duplicating occurs when you duplicate the same object several times in the Outline Window 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 When this item is unchecked Fontographer merely draws the character s outline s and does not show the points Magnification You can magnify an i
241. ocircumflex odieresis otilde uacute ugrave ucircumflex udieresis dagger degree cent sterling section bullet paragraph germandbls registered copyright trademark acute dieresis notequal AE Oslash infinity 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 IN dc Hei s 4 Ff Ke cS d plusminus lessequal greaterequal yen mu partialdiff summation product pi integral ordfeminine ordmasculine Omega ae oslash questiondown exclamdown logicalnot radical florin approxequal Delta guillemotleft guillemotright ellipsis nbspace 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 eb pe o A oO S MR cb IL f Fe E Da Agrave Atilde Otilde OE oe endash emdash quotedblleft quotedblright quoteleft quoteright divide lozenge ydieresis Ydieresis fraction currency guilsinglleft guilsinglright fi fl daggerdbl periodcentered quotesinglbase quotedblbase perthousand 203 204 205 206 207 208 209 210 211 217 213 214 215 216 217 218 219 220 221 222 225 224 223 226 221 228 bh pm mo ue mb o ue T OG G O o O Acircumflex E
242. of a face include modifications such as bold italic condensed and extended Each style should be considered a separate face The combination of styles makes up a font A typestyle provides a way to add emphasis to written text Other styles could be defined Many faces have condensed and extended versions and some have light and heavy versions Ultra bold 1s frequently used for headline text Text type Text type is used for larger masses of text and should be highly readable x height The x height line marks the top of the lower case letters without ascenders or descenders such as x and o This line may be positioned anywhere you wish since it 1s only a guideline In general faces with taller x heights are perceived as larger and more readable than those with small x heights Fontographer background Em square Fontographer s em square is used as a normalization value when generating PostScript and also defines the precision possible in the font The ascent and descent 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 1s 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 It is possible to relate units to physical distance if th
243. ographer Type by Design by Stephen Moye MIS Press a subsidiary of Henry Holt and Company Inc 1995 275 pp The first and only third party manual on using Macromedia Fontographer Learning PostScript A Visual Approach by Ross Smith Berkeley California Peachpit Press 1993 350 pp For those who are interested in manipulating PostScript directly this hefty but accessible guide provides the best introduction to the industry standard page description language Clear and comprehensive it alternates PostScript concepts and demonstration programs with full page examples of printouts Topics include drawing lines arcs and curves repeat loops and special effects Macintosh desktop typography by John Baxter Sunnyvale CA U S A Baxter Group 1986 ill One of the first books of this genre A well done introduction to typography on the Macintosh including useful suggestions about dealing with Postscript typefaces Not as up to date 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 111 Bibliographies A Typological Tally compiled by Tony Appleton Brighton T Appleton 28 Florence Rd Brighton Sussex BN1 6DJ 1973 94 p ill Thirteen hundred writings in English on printing history typography bookbinding and paper making compiled by one of the world s to
244. oint tool is 0 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 Selecting multiple points In Fontographer you can select a group of points or paths in a variety of Ways Position the pointer tool outside the area of points you want in the selection press the mouse button down and drag to the opposite corner of the group of points or paths you want to include A dotted line box surrounding your selection appears as you drag Release the mouse button when you re through selecting points You can select an entire path by double clicking on any point in that path or on the path itself Toselect any combination of points just press the Shift key and select each point individually with the pointer tool Select all the points by choosing Select All from the Edit menu Changing a point type You can convert any point into another type of point at any time To change a point s type select the point or group of points and choose the new point type from the Points menu or press the Command or Ctrl key plus the appropriate numeric equivalent The need to change point type arises in cases where the shaping of a line requires different attributes than those offered by the currently selected point type To change point types Note 1 Select the point with the poi
245. on requires very similar font generation Both formats generate only two files the AFM and the PostScript file The AFM Adobe Font Metrics contains the metrics information The Post Script file the one with the next or sun extension 1s a text file which contains a small header followed by the encrypted PostScript routines The difference in the files for the two operating amp tip Note systems 1s indeed small The naming conventions required for both platforms are the same Always insert a hyphen between the family name and style type this 1s highly recommended for all platforms Thus the italicized face from the Nova family will be Nova Oblique If you get this correct then all the fonts should line right up by their lineage Unless you really need the special features of the Advanced mode you are better off keeping to the Easy 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 Pack your Suitcase Bitmap fonts Bitmaps vs Outlines In these days of Type 1 and TrueType fonts the relationship between screen
246. on 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 Note Pairs to kern first is useful when you are controlling the total number of kerning pairs Fontographer is allowed to make as specified in the How many and how much screen If you have told Fontographer that it can only make 500 kerning pairs for example and Fontographer can find 2 500 pairs which need kerning Fontographer then needs a way to decide which 500 pairs to include However if you choose Doesn t matter Fontographer will simply choose the first 500 it finds Most common pairs first will cause Fontographer to give precedence to an internal list of common pairs and output them first to make sure they are included If you are really concerned about telling Fontographer which kerning pairs are important choose the Open file of pairs option from the first screen Largest pairs first will cause Fontographer to order the 2 500 pairs it found from largest value to smallest and output the 500 largest values This is a surefire way to set the letter combinations which need kerning the most desperately however you will find that many or most of these are often the goofy symbols characters or punctuation characters unless of course you told Fontographer not to consider those which would have been smart in
247. on to the grid system Pioneers of modern typography by Herbert Spencer Cambridge Mass MIT Press 1983 Rev ed 160 p 111 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 Although it covers much more than just type design and 1s fairly expensive this 1s probably the most important and continually useful reference work that a desktop designer and or publisher should have A T A Type Comparison Book by Frank Merriman Advertising Typographers Association of America 1965 An indispensable handbook for identifying typefaces Hundreds of faces are grouped together by design making it easy to find the one you want Still in print possibly in a more recent edition The Encyclopedia of Type Faces 4th Edition by W Pincus Jaspert W Turner Berry and A F Johnson Poole Dorset Blandford Press 1983 The standard reference in the field A detailed listing of over 1 000 faces arranged by name with full information on their history designers etc Graphic Arts Encyclopedia 3rd Edition by George A Stevenson Revised by William O Pakan New York McGraw Hill 1990 624 pp 167 illus is a complete readily available and pricey 58 reference to everyt
248. ong 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 FONTOGRAPTIER Fontographer gives you complete control over the type of pen you ll use to create your stroked font In addition to its width you can specify its appearance and behavior where segments join Also since some people prefer drawing with a pen in real life situations Fontographer makes it easy to change the stroked character into an outline character or font Setting stroke attributes Before you can create a stroked character you will need to change the attributes of the character from filled to stroked To change a filled character to stroked Choose Selection Info from the Element menu Turn off Fill and turn on Stroke Leave the Tint set at 100 B ow ES Enter a pen Weight LIT Tee Im T Tape soma ina Sl Lin iii 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 too
249. ont in its original encoding which will typically be Adobe Standard encoding for most PostScript fonts or to see the font in the encoding of your particular computer We recommend 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 Fii iiti Fesi heg LA i Hm mu unih EH cries AL IE ERNI Sm In clam a pi aris Distances The Cursor key distance field lets Fontographer move points around by specified amounts when you press the arrow keys For instance 1f you set this value to be 2 7 every time you hit an arrow key the selected points will move exactly 2 7 units in the direction of the arrow In addition if you hold down the Shift key and an arrow key the amount moved is ten times the normal value Holding down the Option key or toggling on Caps Lock on the PC moves by one tenth the normal amount The Grid spacing field is for setting up an invisible grid that the Snap To Grid function snaps to The Align Points to Grid command also uses this as the grid One popular use for gridding is to have all your coordinates be on integral number coordinates Simply set a grid spacing of em unit make sure Snap To Grid 1s on and then as you drag points around they will always fall on em unit boundaries 1 e coordinates will always
250. ontographer any of these scenarios 1s simple Fontographer takes what used to be possible with only pen and pencil and puts it into the hands of the desktop designer Autotracing Note The bitmap option is one of Fontographer s most advanced features Autotracing is probably most useful for tracing scanned images Say you have an existing character logo or image that you want to assign to a keystroke On the Macintosh you can scan your image save it in PICT format and place it into your Scrap book or Clipboard 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 To paste an image into the Template layer It s remarkably easy to paste an image into the Template or background layer Select an image from the Scanned images Scanned bmp file on your Fontographer CD In this example we use a scanned Vivaldi f 1 Note Tip On the Macintosh copy the image from the Scrapbook or Clipboard and Paste it into the Outline Window On the PC copy the image from Paint Paintbrush and paste it into Fontographer s Outline Window Fontographer will automatically paste the image
251. oosing 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 Just hit the delete key or choose Clear from the Edit menu Be careful if you have just Option or Alt clicked on a hint to study the points that made it you will remove both the hint and those points if you press delete Be sure to deselect the points by pressing Tab or clicking somewhere else then select just that hint before deleting anything Making new hints Creating new hints is done in the Hints menu To make this process faster we have made sure each command in the Hints menu has its own key equivalent To make a new vertical stem hint 1 Select two points which define the stem Mota Note 2 Choose Make Vertical Stem from the Hints menu To make a new horizontal stem hint 1 Select two points which define the stem x d 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
252. opened up the font TFHabitat and demolished the spacing by setting each letter s width to 450 Font cer apher As you might expect it looks kind of lousy however this is what you get after having drawn a typeface without setting any spacing Now rather than manually and painstakingly setting different widths for each character we ll simply have Fontographer Auto Space the font This 1s the result of an Easy mode Auto Space with the value 60 entered using the slider Fontographer That s a little loose for our taste let s Auto Space again this time with a value of 25 Fontographer As you can see Auto Spacing is as easy as choosing a value and seeing if you like the result Any characters that have spacing you don t like can easily be tweaked in the Metrics Window Auto Spacing as you can probably imagine is not the fastest operation you can perform on the computer It is very much calculation intensive and may seem a bit slow between half a minute and a minute is not at all uncommon but it depends on the speed and power of your computer Nevertheless that is at least one hundred times faster than we could have set the spacing by hand so we re not complaining too much There is a lot more to Auto Spacing it s extra controls are 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
253. ormation dialog In the Style Name field specify the name you want to appear for that particular style prefixed with a hyphen In the next example we create a font family called PetesFont which consists of four styles For all four fonts enter PetesFont in the Family Name field Then for the plain font leave the Style Name field blank For the other fonts enter Bold Italic and Boldltalic in the Style Name field for the bold italic and bolditalic fonts respectively Of course you don t have to use these names Wacko Slanto and ClapDappo would work just as well maybe better The thing that s complicated about doing this stuff is linking together the subfamilies For example suppose you were using PetesFont Italic in an application and you changed to the bold style The selected font should automatically change to PetesFont BoldItalic not merely make a fake bold of the italic face In addition if you were using PetesFont Bold and you selected the italic style that should also switch to PetesFont Boldltalic since it was already 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 PetesFont BoldItalic for the bold This 1s 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 Ugo I i ag m
254. ose a different hint type In the Hint type pop up menu Vertical Alignment Zones In addition to stem width hints Type 1 font hints also control the vertical positions of characters Due to the way the human vision works curved letters like the O should be drawn taller than straight letters like an E 1f they are to appear to be the same height The technical term for this 1s 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 1s to specify important vertical alignment coordinates in a table Blue zones are not associated with particular characters they apply to the entire font However it 1s helpful to think of them as corresponding to certain groups of characters When Fontographer computes or recomputes the vertical alignment zones the first pair of values is based on characters such as A and C which are normally drawn with their bottoms on or near the baseline The first value of the pair is the baseline overshoot characters such as C and O The second value 1s the normal baseline The remaining blue zones are computed from the tops of characters and the x height characters such as c a
255. ose to touching each other In this case Fontographer will be essentially spacing the font by looking at the font s serifs and little else Examine average distance and Examine weighted distance try to compensate for that problem by averaging the outlines a little bit allowing the serifs to get closer 1f other parts of the character are further away Of those two options the weighted one is supposed to be a more optical kind of comparison Because fonts vary so widely it 1s practically impossible to absolutely state the differences you will see with the various techniques Our advice try the different settings to see which one looks best to you Advanced Auto Kerning Auto Kerning also has a lot of hidden functionality It is probably at its most powerful when applied to a font in several different ways You can have Auto Kerning 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 E n different settings and then exporting the kerning and examining it you can tell where the biggest spacing problems occur Of course anything with this many enhancements 1s going to take some practice and getting used to before you can learn to use 1t properly But if you are really interested in kerning
256. ost 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 Rather than document all of the 128 different combinations of checkbox items and their effects we ll just comment on a few of the items Hilite the first point in each path when checked draws a square around the first point in each path This information 1s useful for doing Font Blending or for multiple master font creation on the Macintosh Some people objected to the visual clutter of showing that and so we made it a preference so it can be turned off Hilite the ends of unclosed paths is a way to tell at a glance whether a path is opened or closed Sometimes it 1s not clear in the Outline Window whether a path is opened or closed It is easy to lay down the last point of a path a little too far away from the first point and so the path doesn t close like you think it did When this preference is on big gray circles will appear around the two endpoints The purpose of this preference is not to have it on all the time What you should do is turn this preference on flip rapidly through all the characters in the font see if any have this problem of paths being left open and then turn off the preference when you have finished Hilite adjacent points that overlap when checked causes a double circle to app
257. ote 4 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 If you are in the Outline Window it will only affect the hints of that character If you bring it up from the Font Window it will affect all the currently selected characters Type fonts have a restriction that hints cannot overlap There is a way to get around this known as hint replacement but the technique is not implemented in Fontographer Maybe someday the Type font renderer will be changed to handle overlapping hints This mainly affects serifs which require overlapping hints to control the serif width on each side of the stem Without overlapping hints or hint replacement serif widths are uncontrolled Fortunately this effect 1s not generally a serious problem in practice Fontographer applies heuristics to pick which hints to keep and which to ignore when sorting through overlapping hints You can override this by changing the pop ups in Hint order so you can control whether the most frequent hints get applied first or the largest or some other option Hints to include This 1s a way to suppress entire groups of hints If you are developing PostScript fonts for instance you could decide that you never want to look at any serif hints or diagonal hints since those kin
258. ou adjust B zier 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 Auto Curvature is active primarily on curve points but corner points can also have Auto Curvature if their adjacent points are curve points Auto Curvature allows a point that s being moved to automatically update the angle and length of BCPs If the adjacent points are also set for Auto Curvature their BCPs will also update automatically as the point 1s moved This means that when a point is moved you will no longer have to adjust BCPs after moving a point nor will you need to select the adjacent points and re edit their BCPs A BCP with Auto Curvature active will look different from BCPs without it Instead of a square the BCPs will look more like an x a de l 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 automat
259. ou agree with his approach this book 1s required reading and will widen your typographic horizons An essay on typography by Eric Gill 1st U S ed Boston D R Godine 1988 A classic typographic manifesto on the art and craft of letterforms from the designer of Gill Sans 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 1s excellent background reading Report on the typography of the Cambridge University Press by Bruce Rogers Cambridge Cambridgeshire University Printer 1950 viii 32 3 p ill Bruce Rogers 1870 1957 is regarded by many as having been the greatest typographer and book designer of the twentieth century After World War II he was commissioned by the Cambridge University Press to undertake a thorough review of all of the Press publications and standards The resulting Report had a major impact not only on the C U P but also on the general typographic theory and practice in both Britain and the U S Designing with type a basic course in typography by James Craig and Susan E Meyer Rev ed New York Watson Guptill Publications 1980 176 p A modern how to book available at many large bookstores and graphic ar
260. ou 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 Include diagonal hints This checkbox can override options set in Hint Parameters and Hint Info Refer to Chapter 10 for more information about hinting Moist vertical baramis bris icy Ti iF Cia Ea s Dropout prevention A dropout occurs when both sides of a character s outline or curve fall between pixel boundaries A dropout is said to have happened when an important feature of a character fails to appear at all Fontographer provides three levels of dropout control sene A u nare If you select None the TrueType Fontscaler will not attempt to find and correct dropouts Standard dropout control will eliminate nearly all dropouts More will eliminate all dropouts but will sometimes turn on bits which weren t wanted The following illustrations show the results obtained using the three levels of dropout prevention The first F character 1s missing its cross bar because it happens to fall between two pixel boundaries With Standard dropout p
261. ove and below the letters 1 e built in leading Pop up menu aka pull down or drop down that appears in a dialog box or in a main menu when related information is selected PostScript Adobe System s page description language Programs like Macromedia FreeHand use PostScript to create complex pages text and graphics on screen This language is then sent to the printer to produce high quality printed text and graphics Preview A mode for editing or viewing a character which shows a filled outline Printer font font that permanently resides in the printer Proportionately spaced type Type whose character widths vary according to the features of the letters as opposed to monospaced type RAM Random Access Memory The computer printer s temporary place for storing data When the computer or printer is turned off the information in RAM is erased Rasterization The process of converting outlines into bitmaps The outlines are scaled to the desired size and filled by turning on pixels inside the outline See pixel Reference n image that refers to an original character a 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 i
262. ow You can cancel the tracing operation at any time by clicking on the Cancel button or by typing Command period or Esc on the PC Advanced tracing options Fontographer s Advanced tracing mode offers some specific options Lai Aer x mar Hi Sarral e rx LEELEF ias parsa d error kat Elk lala s ed a EL Duna te chee nasci 5 T 7 IE 4 iria vireg treni FR TTT S Leste tor ven PRECIADOS Fliemai semi Mal eee ma ele lees EJF iri opines points Curve fit Choosing an item from this pop up will set all the other controls in the dialog to recommended settings for Loose Normal or Tight fit Try changing the value of this pop up a 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 Normal is generally the best all purpose selection Tight would be a good selection for more intricate designs while Loose would be good for characters with straight angles such as block letters and poor quality scans Choose Custom if you want to set the Curve fit options manually Allow curve fit e
263. p dealers in the field A Bibliography of Printing with Notes and Illustrations by F C Bigmore and C W H Wyman London Oak Knoll Books 1978 Universally known as Bigmore and Wyman this is to printing bibliographies what Updike 1s to books about printing types Published in 1880 editions since then have been reprints B amp W provides excellent commentaries on just about every book that had been written on the subject as of the year it was published Book Dealers Publishers Specializing in Typography Oak Knoll Books 414 Delaware Street New Castle DE 19720 302 328 7232 David R Godine Publisher 300 Massachusetts Avenue Boston MA 02115 617 536 0761 Peachpit Press 2414 Sixth Street Berkeley CA 94710 800 283 9444 510 548 599 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 Boyle for their suggestions before and during the compilation of this bibliography This bibliography has been adapted and expanded from an earlier annotated checklist by the same author prepared for members of the MAUG Forums on Compuserve Copyright 1988 1993 by David S
264. p up menu Type 1 and Bitmaps both become grayed indicating that neither of those two choices are able to accept diagonal hints al Ll sl k ESP lA ORUM a 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 Remove gets rid of the current hint Forward and Back moves the hint around relative to the other hints of that type This 1s the same thing as dragging a hint with the pointer tool except that with the buttons you only move in or out one hint level with each click To move a hint all the way out or all the way in keep clicking on the appropriate button until it grays out which indicates that s the farthest the hint can go in that particular direction Autohint performs the same task as the Autohint item in the Hints menu it will turn on autohinting and rehint the character Next and Previous are the controls which change the currently selected hint Next will choose the next outer hint of the currently selected type and Previous will choose the next inner hint of that type To move on to examining other groups of hints cho
265. paths we also recommended that you choose Clean Up Paths to put the extrema at the extremes so that the character and font will hint correctly 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 fonts The second is TrueType the outline font format developed by Apple and Microsoft which doesn t need bitmaps at all since the font s outlines are used for the screen display The advent of ATM and TrueType has almost made bitmaps a thing of the past 5o we recommend that you spend your time designing good outlines and your bitmaps will take care of themselves So why would you want to bother editing bitmaps Maybe you don t have ATM or just plain don t want to switch to TrueType Perhaps you d like to create gray scaled Type 3 fonts which TrueType doesn t recognize and ATM can t contain or you re creating professional fonts for distribution and since ATM and TrueType don t render well at the smaller point sizes say below 12 points you might want to hand edit them yourself to achieve more readable character images Or maybe you just like playing with pi
266. pe 1 character are closed paths that don t overlap one another Another possibility is that somewhere in the font is a character where one point is exactly on top of another point This will also cause problems for ATM and Illustrator I ve been working on a font in Fontographer and suddenly when I try to open my font Fontographer tells me it can t open the file and Note gives me Error 54 What s going on here and what can I do about It You may be using FontPorter from Adobe it came free with ATM 2 0 and have dragged your bitmap file the one with the bmap extension on it into the System Folder rather than installing 1t with Font DA Mover FontPorter still has a hold of the bitmap font and Fontographer is trying to get at it but can t because FontPorter already has first dibs Error 54 1s a permissions error telling you that Fontographer doesn t have permission to open the file because FontPorter already has it opened To fix this problem drag the bmap file out of the System Folder and back into the folder where you were working on your font then restart your computer This problem could also potentially occur if you are using Suitcase or Master 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 Fon
267. pears in the font list but you get the Unusable Font error when selecting the font from the Fonts panel double check the FontName FamilyName etc in the afm and PostScript files If the font appears 1n Courier make sure the PostScript and afm files refer to the same font If you ve tried all these options and it still doesn t work then it 1s finally time to call our Technical Support department Porting Sun PostScript fonts to the SUN Sun Microsystems Inc has released an operating system named NEWS which renders PostScript Type 1 fonts In order to use the Sun fonts from Fontographer 4 for the Macintosh you must be running under Solaris 2 x Open Windows 3 on your Sun Workstation M Remember when we said that being on a network 1s a blessing when it comes to porting fonts to UNIX Well for Sun stations it s a MUST Without special software the Sun will not read a Mac or DOS formatted diskette So there is not much direction we can give you on porting your fonts to the Sun if your Sun station is an island Get connected Installing PostScript fonts Are you running under Solaris 2 Open Windows 3 on your Sun Workstation If not then upgrade your OS before 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 Font
268. ples 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 On most platforms replacing an old version of a font with a newer one is simply a matter of installing 1t again If you do remove a font any documents you ve created with that font will revert back to some default font a situation you should generally avoid But if you don t have any documents that contain a certain font you might want to remove it to save space on your computer s disk or to reduce clutter in your font menus Disks containing fewer files generally work faster and font menus with fewer fonts display more quickly It s also true that programs start more slowly when there are lots of fonts installed So there really are some valid reasons why you might want to remove unused fonts from your computer Done carefully font removal can speed your work and brighten your day Removing a Macintosh font In System 6 0 1 Quitany open applications and return to the Finder 2 Start Font DA Mover by double clicking on its icon Make sure you re using the latest version 3 Allthe fonts installed in your System file will be displayed From the list of fonts shown select the font you wish to remove 4 Click Remove Note Click Quit If it s a PostScript font drag the PostScript file the one with the abbreviat
269. ply Oslash Ugrave Uacute Ucircumflex Udieresis Yacute Thorn germandbls agrave 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 P ajo Ce nde a Ce CA c P on aacute acircumflex atilde adieresis aring ae ccedilla egrave eacute ecircumflex edieresis igrave lacute icircumflex idieresis eth ntilde ograve oacute ocircumflex otilde odieresis divide oslash ugrave uacute 225 226 22 228 229 230 231 222 233 234 235 236 231 238 239 240 241 242 243 244 245 246 247 248 249 250 o ucircumflex 25 udieresis 252 Y yacute 233 b thorn 254 v ydieresis 255 Unencoded Characters Char name Dec I Lslash 256 Islash 257 Scaron 258 2 scaron 259 Z Zcaron 260 T zcaron 261 quotesingle 262 dagger 263 bullet 264 TM trademark 265 f florin 266 ellipsis 267 CE OE 268 ce oe 269 endash 270 emdash 271 Ge quotedblleft 212 gt quotedblright 273 Y Y dieresis 274 slash 275 d guilsinglleft 276 gt guilsinglright 217 fl fi 278 fl fl 279 t daggerdbl 280 quotesinglbase 281 T quotedblbase 282 oo perthousand 283 Macintosh Encoding vector Char name Dec NUL do 0 not use E Eth 1 eth 2 j Lslash 3 l Islash 4 Scaron 5 2 scaron 6 Y Yacute 7 y yacute 8 H
270. point or move to the next or previous point in the path Hint Information The Hint Information dialog appears when you select a hint in the Outline Window and choose Selection Info from the Element menu Hint Information lets you navigate through your hints by hint type and set the starting and stopping point of a hint You can also add remove and flip hints and apply them to Type 1 TrueType or Bitmap fonts as applicable Bitmap Info The Bitmap Information dialog allows you to specify the point sizes you want to create The bitmaps are stored in 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 The default normal or middle range of the slider is a good compromise between the tight and loose options The loose end of the slider ignores little jagged edges and attempts to fit only the largest features of the 1mage Advanced mode specifies the kind of fit curves will take normal loose tight or custom fit In the lower portion of the dialog you can click on checkboxes
271. ps and the more clearly defined the meaningful groups are in the visual field the quicker we will be able to read the information When 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 Itwereprintedlikethisinsteadof withthecorrectspacing 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 So if you are going to design fonts you will probably want to pay attention to the metrical details out of courtesy to the people who may use them As we said font metrics 1s the term used to describe how letters are spaced when they are typed This is easy to imagine if you remember how type used to be set When characters were carved on the end of a piece of metal each character s width was had to be in fact the width of the piece of metal on which it was carved Setting type was a matter of laying these pieces of metal down next to each other therefore the spacing was determined exactly by the width of each piece of metal To influence the metrics you could space the characters further apart by wedging little thin strips of metal between them You could even squeeze the characters closer together by filing down parts of the metal type Fundament
272. r menu bar It must be 3 8 or larger If the number is 3 6 or smaller you will not be able to see the fonts you made with Fontographer You ll need to get rid of the old version and obtain a copy of the newer version from your Apple Dealer or local user group Click the Open button and then open your System file A list will appear of all fonts currently residing in your System file Select the bitmap sizes of your font that you want to install by dragging through their names Click the Copy button to copy the fonts from your bitmap file into the System file Click the Quit button to exit from Font DA Mover 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 0 1s considerably simpler than with earlier Macintosh Systems 1 Quit all open programs You can t make changes to the System file while programs that use fonts are open Select both the PostScript and bitmap files by dragging the pointer Note around both E 3 Drag both files on top of the closed System Folder and drop them there T Eis fsi A E ERE Ui r giat e lie run ees Feds s e EQ imm aa in dra Fui 4 The System will ask you if you want to install
273. r 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 Hand tool The hand tool lets you scroll through the display area useful for large characters To temporarily change from the other tools to the hand tool hold down the Spacebar Rectangle tool The rectangle tool 1s for drawing rectangles squares and rectangles with rounded corners To change the radius of curve at the corners of the square or rectangle double click on the icon and make changes from the dialog To constrain the shape to a square hold down the Shift key while dragging Press the Option or Alt key and drag with the mouse to change the shape of the rectangle to a square using the point clicked on as the center of the figure To access the rectangle tool from another tool while the lock icon 1s ocked type the number q gt Note Multigon tool The multigon tool draws starbursts and regular polygons Double click on the tool to bring up a dialog that controls the shape From the dialog box specify polygon or star shape number of sides and shape of points To access from another tool while the lock icon is locked type the number 2 Oval tool The oval tool creates ovals and circles Hold do
274. r 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 Open Windows looks for fonts the font path therefore fp To remove a directory from this list type in xset fp Fonts By adding and deleting directories from the font path you can create several different font directories and choose to use only a few at a time This way you can still maintain a large library of fonts without needing to maintain them as a single unit Your font will display on screen without a bitmap courtesy of NEWS And your font will print at the maximum resolution to most printers without special drivers or software Installing Type 1 fonts in OS 2 Version 2 0 Adobe Type 1 fonts for use with the OS 2 operating system require two files for each typeface one with a AFM and one with a PFB file name extension The Font Palette converts the AFM file to an OFM file when it installs the new font Vo Open OS 2 System Open the System Setup Open the Font Palette Select Edit Font w M r The Edit Font window appears Select Add Follow the instructions on the Add Font window then select Add m 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 type faces to the Font Palette sam
275. racter in the sequence In sequences like O 1 S a hold down the Option key then press the 1 key let up on both then hold down the Shift key and press the a key finally letting up on both Ignore the hyphens and the ampersands See Part II of Using Fontographer on Your Macintosh for more information on KCHRs Char Decimal Hex System 6 0 7 System 7 0 d AB O e O e S O e d AC 0 U 0 Se 1 Y DI DI S O O u S y 228 E4 S O e S O r A 229 E5 S O r amp O i S a S O m amp O i S a 230 E6 S O t amp O i S e O i S e E 292 E8 S O u amp O u S e O u S e E 233 E9 S O i amp O S e O S e Char Decimal Hex System 6 0 7 System 7 0 23 ED S O g O S i O S i 243 F3 Sede Delega O i S u 244 F4 Ecc de ie e N O S u P 246 F6 S O n S O i 2A F7 S O m S O n 292 FC S U Z 2 253 FD S O g 254 FE ie ee SEX 255 FF S O t My logo font has a fairly complex drawing in it that prints just fine to my LaserWriter at small point sizes 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 ano
276. rapher the same way you start other applications by double clicking the program icon In a few seconds Fontographer s About box appears Choose Open Font from the File menu to open one of the fonts in your System a folder a file server or a disk or you can use one of the fonts provided in the Sample Fonts folder The standard file selection dialog works in the normal fashion so you can change drives or directories open a file or cancel You can also specify which types of font file formats you want to display On the Macintosh you can eject disks as well Once the selection dialog is open you can select a font file by clicking on its name and then Open or simply by double clicking on its name One or more progress dialogs will appear before Fontographer displays the Font Window To cancel progress dialogs type Command period on the Macintosh or Esc on the PC L s Gigka amp Tea i Pli miu v iwix v z r v M e dile H le th ki m o jo 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 Enter 30 in the Change by text edit box and click OK Fontographer increases the weigh
277. re made of straight or curved line segments which are either connected or unconnected Characters like the lowercase e 66599 1 and J are composed of two separate non over lapping paths the dots and the stems When you join the endpoints of a path you ve closed that path Important All typographically correct paths need to be closed If you already know how paths work you can skip this section and go to Types of Points later in this chapter 1 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 If you want to have outline and path connections without a fill this 1s a character made up of stroked lines click on the Stroke checkbox Basically you should know that 9946 of the time you ll be using closed paths For more about stroked characters refer to Chapter 2 Creating New Fonts Path direction and fills A character with an open path remains unfilled by PostScript but characters with closed paths are filled PostScript automatically closes paths unless you specify otherwise Open paths are lines in which the final point does not reconnect to the initial point in the path and are basically worthless unless you re creating a Type 3 font A closed path Note include
278. rection 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 IFE T z mi lenti Lu MT Pai dali ho Wu Grbe ken del Vi i Types of points Fontographer uses three different types of points corner points curve points and tangent points Don t be confused by the different point types like control handles they re nothing more than different ways rip amp rip amp tip amp tip E n of working with the same basic element The shape of characters is determined by the kinds of points used to construct them You control the shape of the line segments in a path by either manipulating two control handles attached to each point or directly manipulating the path itself Certain principles operate in using the corner tangent and curve points Once you understand these principles creating and altering characters 1s easy Curve points When you place a curve point or convert another type of point to a curve point Fontographer automatically extends two control handles from the point to create a smooth curve between the preceding and following points on the path The shape of the lines that extend from both sides of a curve point will be an arc
279. rectly under the Hint type pop up changes depending upon which kind of hints you are viewing For Vertical stems it lists the x coordinates of the stem Oe the locations of the sides of the stem These values can be edited by entering new ones If we change to Vertical serif for instance we get corresponding information about that particular serif dial Ia Ferlirall serir T Viri uai ii Llera ap I ierit sari Ir tit Pep 255 Changing to Diagonal hint displays this screen hers hune Burgo ni kinl arismalo Pees li A linm i8 bart 438 IS Lina 8 atop E JA Lire P viart 288 mad ling Bailen EJ 1537 Apply to Bam T PI lane d Toney i HIRE S BL 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 By setting these flags you can have one Fontographer database which is tuned to different font formats The Bitmaps checkbox refers to Fontographer s internal bitmap generation algorithms 1f you discover some hints which seem to throw off Fontographer s automatic bitmap generation you can suppress those hints That may save time over having to hand edit the poorly created bitmap images Of course you don t always have the option of choosing hint format type If you choose Diagonal hint from the Hint type po
280. replace an existing file that has the same name with a new file If you don t choose this option and have a font with the 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 Using the font Once you ve installed the font go to the application of your choice type some text and select your font just like you would any other font from the Font menu This is Che War IL looks now dg Tur fiu net A i GU ENS ht S NN kat Lini pig A dd pu rcr bm di Se ir PT FEA pirat cr ee ac Hp frm werk ped std d os Ge Tema Fu bu uH PAPA rem ra inu rn rromem went a Se UA Dueb ran A Ad LR dd cs E AI A A REDE wis raka prada we Fe EOM r asi a Rm or T Fu ete dada eas Tom q LLL car iu amis ud eegen pa dam i Ea A omis Cape cuum panem usur iui parte muri E rmi oom b Ree di eee far E Creating an oblique font By using Fontographer s Skew feature you can create your own oblique font You can consider this an easy way to make an oblique typeface Actually it s sort of like cheating since an oblique font is just a right slanted version of a Roman typeface
281. resources and replace your names with the ones there 9 Select id 21317 and duplicate it It will likely be given an id of 129 To change an id in ResEdit select the resource id and type Command l Then type in the number you want Make sure it is the same number you entered in step 6 This 1s now a copy of the Adobe encoding vector To begin changing your names just start replacing the names in the strings You will notice that the first 32 fields are notdef Most operating systems do not reliably access characters in this range However certain encoding vectors such as Arabic require that characters be mapped in that range As was mentioned before if you have your custom encoded font then you already know where the characters belong in the font If you don t have your custom encoding font then you must find out what the sequential order of the character names is 10 When you have entered all the character names close the resource Save and Quit Fontographer is now ready to supply your custom encoding at the click of a mouse nt bding Con Lam Original H abr tlandard Adahe Esper Fe on or aper 150 Lalin biarin ghi Ud ii 4 Windows e Giyph Lisl DEH Eng adding Note 11 Open Fontographer and create a new font Choose Font Info from the Element menu and select your own encoding from the encoding pop up Now copy your characters into their proper locations in this font database While
282. revention the feature 1s restored DFE Notice that the outline at the right side of the top bar descends below the bar This type of structure 1s 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 Due to a quirk in the TrueType Fontscaler the pixel that 1s turned on is to the left of the end of the bar Character mapping Most of the time you will never change the default which is Standard Choosing this option gives you a normal font with all the characters you would expect in the places defined by Apple and Microsoft for a standard TrueType font Liira Ire appe EL IHE d DIE Sequential character mapping on the other hand means that in the generated TrueType font characters are stored in the same order as they appear in the Font Window This option is potentially useful for non Roman character sets and non standard fonts This 1s really of marginal use on the Macintosh unless you are a real font guru don t worry about it See the section on encoding vectors for how sequential character mapping can be used to mimic different font encoding PostScript Type 3 The steps for generating a Type 3 font are almost identical to those for generating a Type 1 font But why would anyone want to gener
283. review selected from the View menu or press Command or Ctrl L dih k d Choose Select all from the Edit menu Option or Alt double click on the Scale tool to bring up the Transform dialog with Scale uniformly as the first transformation Choose Center of Selection from the Center transformations around pop up menu at the top of the dialog Type in 90 into the text edit field and press return or click Transform The character should look like this in Outline mode To use the Perspective tool 1 Option double click on the Perspective tool to bring up the Perspective Setup dialog Perigeo F DEL 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 Choose Select All from the edit menu 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 Choose Copy from the Edit menu You will paste this copy later in this example Click and hold the mouse on the origin line the line that extends from the bottom of the window to the top if the window along the left side of the character Drag the mouse to the right while holding down the shift key Note Note As you drag the mouse you will notice that t
284. rmation dialog are immediately reflected in the character Outline Window In addition to being able to use the Tab key to move through the fields additional key commands are available for the Next and Previous Points operations These commands are shown on the Next and Previous buttons To select the next point in the path Click the Next pt button To select the previous point in the path Click the Prev pt button To make a point the first point in a path 1 Select a point 2 Click the Make First button in the Point Information dialog You can undo resetting of the first point by pressing the Cancel button or choosing Undo when you re back in the Outline Window 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 Click on the checkbox again to disable it and the BCPs will reappear and return to their previous coordinates You can also retract BCPs in the Outline Window with a menu command See Retracting BCPs later in this section for more information Poi
285. rn it off 1f your font exhibits hint related printing problems 6 Output PFM file should be checked the AFM and INF options should be unchecked in most situations 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 Other Options Overwrite existing files When this option is not checked any file name created which conflicts with an existing file name in the same folder will have a bullet or dollar sign appended to its name Output AFM file The AFM file 1s not used by ATM Windows in normal installations If you have a use for this metrics file then check the box to generate the file Output PFM file The PFM file 1s required by ATM Windows This option is on by default This 1s a binary file containing metrics information similar to information found in the AFM Output INF file The INF is an information file used by some older DOS applications for name and style information In rare situations it can also be read by ATM and used with the AFM file in lieu of the PFM Only generate this file if you know you will use it otherwise its presence may cause confusion when ins
286. rom 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 Refer to your Suitcase or Master Juggler manual for detailed instructions on installing fonts with each program Important Make sure that any time you use Fontographer s Generate Font Files command the font you re working on is not installed with Suitcase or MasterJuggler If you accidentally leave a font installed and then choose Generate Font Files Fontographer will inform you if there s a problem and give you a chance to de install the font before regenerating Macintosh TrueType font installation Note Mota TrueType fonts exist all in one file There are no separate screen and printer files like there are for PostScript fonts Instead everything comes in a single suitcase file 20m li ss III si Installing TrueType Before you can install TrueType fonts in System 6 you will need to obtain the TrueType INIT from your Apple dealer or an on line service Drag the TrueType INIT into your System folder and choose Restart from the Finder s Special menu to install it Another requirement for installing TrueType fonts in System 6 1s that you have Font DA Mover 4 1 which is available from your Apple dealer
287. rplane The point 1s however that in some cases it isn t necessary to become an expert in all the details Hints are just like that Fontographer s autohints will take you where you want to go only those few who want to be pilots really need to manually edit them So don t feel you need to read this section and master these concepts or that you should go into the Hints layer and start changing things around Feel free to check it all out but be assured that you absolutely do not have to know a thing about hinting in order to successfully use Fontographer Are you still with us We highly recommend that you obtain and read Adobe s Type One Font Specification before getting too involved in hint editing Although that publication deals entirely with PostScript Type 1 the concepts covered will be valuable 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 dots per inch or dp1 To understand hinting you first have to understand a bit about how computers print or as the techies say put dots on the page The oft forgotten reality of laser printing is that those nice smooth lines you get out of your printer aren t really smooth at all They are composed of little dots called pixels which like a mosaic are all assembled on a grid to form a picture At high enough resolution your eye perceiv
288. rrors This control will have the largest affect on your tracing results A low value means Fontographer will allow fewer curve fit errors and you ll get a very tight trace with more points A higher value means Fontographer will allow more errors and you ll get a loose trace with fewer points Balance lines This control will have very subtle almost unnoticeable affects on your tracing results A low value means it will do almost nothing A high value means Fontographer will attempt to align lines when it thinks it s necessary For instance it might try to align the left and right parts of the crossbar in a T character Eliminate close points This control can help eliminate redundant points points that are almost on top of each other A low value means that almost no points will be eliminated and the shape of the path will be the most accurate A high value means that it will eliminate as many points as necessary but it may slightly alter the shape of the curve in order to do so Make straight lines This control has very subtle effects It determines how straight a curve should be before it is turned into a straight line This will never turn extremely curvy paths into straight 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
289. rs usually contain 72 75 or 90 dpi Em A unit of measure which is the square of a face s point size Traditionally the width of a face s widest letter the capital M For instance if the M is 10 points wide an em is equal to 10 points Em space space equal to the width of a typeface s point size Often used for paragraph indentions Traditionally the em space was created by non printing blocks of metal used to add space between words Em square A square the size of a capital letter M Also the height of the ascent added to the height of the descent Em units Measuring units in Fontographer whose size is relative The em square can be visualized as being divided up by horizontal and vertical grid lines that result in box like units of equal size Em units are relative to the size of the em square and are not measured in points Expanded typeface whose letters have been made wider without visually adding weight Extended typeface whose letters are stretched or 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 1 e Roman vs Italic A typical computer family unit frequently contains four fonts Roman Italic Bold
290. rs will note that Fontographer automatically gives you the name MyFatFon fog if you also named 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 The Generate Font Files dialog offers a number of options including the ability to generate fonts for several computer platforms but for the purposes of this exercise you ll use the Easy mode Choose the computer you re generating fonts for and select TrueType for the Format We ve typed some commonly used bitmap sizes in our example and you can do the same However bitmaps are only necessary if you ll be using a PostScript font on the Macintosh LETT Do Ein hd lee H Eh ASAS O dumm ee k 1 LUI nd eun T LE a cial Elm Lier be oe 12 100 18 ME H AAA E PERS A is e He Pe Hi Lei Pabirr ieren fr rel Eri El a Mr oi lA er eee ue ara ee The Set Folder Directory button gives you the option of generating your fonts directly into a specific folder This saves you the extra step of moving files into folders later The Overwrite existing files option lets you
291. rst 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 Once the spacing has been determined you then look at all the character combinations which cause trouble for the spacing value you picked Typical problem character pairs involving T are Ta Te To Tu Tw Ty T and so on Those character pairs are prime candidates for kerning pairs You can create different kerning pairs for each of those cases and individually adjust the spacing for each pair Here s how it works Let s say the optimum width for T is 825 em units That means that the T is always 825 units wide no matter what character follows it except for the ones we define as kerning pairs For example the T in Ta could pretend to have a width of 780 so the a gets tucked underneath a bit For Te we would start with the same value and modify it 1f necessary Another way to say it 1s that in the presence of kerning pairs widths of characters can change depending upon what the next character 1s 1 e the widths are contextually sensitive There is an upside to kerning pairs which we have discussed and a downside Many programs do not support kerning There is a rule of t
292. run over each other on paper then you might try this quick fix 1 Open STR 6021 2 Change the following code LL 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 Note Fontographer 4 1 has the ability to play cool sounds during certain actions It plays sounds when you snap to a point or snap to a guide in the Outline Window and it plays a sound whenever the Please Wait dialog closes The sound file 1s not installed but you can copy it off the Fonts folder on your CDROM If you wish to use the sounds in Fontographer on your Macintosh you should do the following 1 Find the file called Fontographer Sounds on the CDROM Place the file into the same folder as Fontographer Don t change the name of the file because Fontographer looks for that name specifically If you re comfortable using ResEdit you can easily customize your sounds 1 Get the sound you wish to use Convert the sound into a snd resource if necessary Use ResEdit to paste the snd resource into the Fontographer Sounds file 4 Then use ResEdit to name the resource the spelling must be exact one of the following names Snap to point Snap to guide Operation done That s it
293. s 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 xd mkdir Fonts cd Fonts i mkdir afm 2 Copy the font file to the directory you just created Fonts cp SpiffyFont ps Fonts Make sure that the file ends in a ps or you will not be able to download the font to the printer when you print 3 Next you need to copy the afm file to where the system can access it cp SpiffyFont afm Fonts afm The font files are now in all the right places 4 Now for the really hard part Run the Console command tool and you ll run a system utility that will set up some things that OpenWindows needs in order to use the fonts correctly This utility is bldfamily and is part of the OpenWindows distribution For more information on this program refer to your system documentation cd Fonts bldfamily d What bldfamily does 1s create a list of all of the fonts in this directory and places it in the file Families List OpenWindows needs this file to correctly use the fonts that you ve installed so don t delete it The d that we typed in after bldfamily 1s 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 o
294. s Command or Ctrl The next available larger point size will automatically replace the character in the Bitmap Window When should you recalculate bitmaps Note Recalculate bitmaps from the outline when you have edited bitmap characters and you want to start over Also when editing small point sizes you can use this to see the results of hint editing or metrics changes If parts of the font have changed you can recalculate just those changed letters Preserving your original bitmaps Even though you may have modified an existing font s outlines you can still keep the original font s bitmaps if you like This is useful in those instances where you ve added some special characters to your font fractions or accents for example You don t want to regenerate all the existing bitmaps since commercial fonts already have hand edited bitmaps in them anyway Like everything else 1t does Fontographer offers you an easy way to do this import any other bitmap font file 1 Choose Import from the File menu in any of Fontographer s windows and then choose Bitmaps from the pop up menu 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 Ce J Carcel Cancel detect Bil 2 Click on the file and choose the sizes and sty
295. s 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 ATM requires that two files be available in order for font installation to be successful the PFB and PFM To generate Windows PostScript Type 1 fonts 1 Choose Generate Font Files from the File menu 2 Select PC from the Computer pop up menu Lac POLANERE enm pi Fi Fa Lis ita hej NIIT Lure ri Haiipg Ierd 18 aba Hana Ierd T aaa Format Poniteriol Type Tarot here ei id Agra el Ire ade binis DO de Fire di parve Ulla aglirm Here Do cal pud ile Peg la irral Frising libet Wisin tup FT ng bevi cene d TN lie cl stoat M i T m Hagar IRE ge ut Folder 3 Select the encoding option appropriate for your font If you feel adventurous read the section about encoding options earlier in this chapter Ninety five percent of the time you ll want to use Windows or Windows 95 encoding There are only two encoding vectors which don t make sense for Windows ISO Latin 1 and Macintosh Select the PostScript Type 1 option in the Format field The option Include hints is checked by default Generally leave this on only tu
296. s a critique of the Fleuron Signature and Typography by Grant Shipcott Oxford Oxford Polytechnic Press 1980 xiv 111 p 111 These classic periodicals particularly the Fleuron were to their time what Fine Print was to typography and book design today but because of the ferment in the world of design during the 20s and 30s and because of their illustrious contributors they had a much greater effect on the typography of the time History and Development of Lettering and Letter forms The 26 Letters by Oscar Ogg New York Thomas Y Crowell 1948 A nicely done book by a well known American calligrapher tracing the evolution of the alphabet from prehistoric times to the invention of printing 250 pages well illustrated Letters by James Hutchinson New York Van Nostrand Reinhold 1983 A stylishly designed very readable history of alphabets writing and printing types The History and Technique of Lettering by Alexander Nesbitt New York Dover Publications 1957 A thorough history of type design from its origin through the mid twentieth century this book covers some of the same material as the Ogg book but includes much more information on the development of letter forms since the invention of printing It is written from an artist s perspective and has a how to section on lettering The Alphabet and Elements of Lettering by Frederic W Goudy New York Dover Publications 1963 Reprint of 1952 University of Califor
297. s choosing this item will cause a dialog box to appear which will allow you to set the 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 The Metrics Menu Auto Space Auto Space automatically spaces a font setting widths for each character You can select the Easy or the Advanced mode With the Easy mode you just select the spacing between characters that you prefer Check the spacing out in the Metrics Window by typing text in to the textbox See Advanced Auto Spacing in Chapter 5 for a detailed explanation Auto Kern Auto Kern automatically kerns a font In the Easy mode you can choose how many kerning pairs you want how close together you want the pairs kerned and whether or not you want Fontographer to change existing pairs Check this item 1f you want to manually set some pairs but want Fontographer to set the others The Advanced mode allows you to choose which characters to kern how many pairs to make and a lot more You can also specify the techniques to use as well make choices about special cases See Auto Kerning in Chapter 5 for more details Ker
298. s one Note specifically for use as a screen image on the Macintosh the bmap called NENT 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 firimap paint aire Loi Or d pou Fe E 3 d bur y ls e ay x D m mmm Lo r Nite mir di arr der Eu Sp Wie le T um sg land por e da Les hiama Lei ar Be ke Er mu s These are not output to a file until you say so In the Generate Font files dialog If you won t be hand editing your bitmaps then there is no compelling reason to use this dialog Adding bitmap sizes Type the desired point sizes in the Bitmap sizes to output field and click Generate Adding a new size will automatically generate all the characters for the newly added size s They are limited to sizes between 1 and 255 points Deleting bitmap sizes Unwanted bitmap sizes can be removed from the database file by removing the size from the Bitmap point sizes field in the Bitmap Information dialog Fontographer will display a warning message before it deletes the bitmaps Bitmap format None This option is provided to disable bitmap generation In the instances where simple changes have been made to the outline font like adjusting a BCP which does not always affect
299. s an endpoint that reconnects with the first point in the path In the Character Information dialog which displays when you choose Selection Info from the Element menu you can select one of two types of fills Normal or Even odd The standard PostScript filling technique is called a winding number fill which is the Normal fill The Even odd fill operates differently refer to the even odd fill 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 Important The Normal fill relies on the outside path being described as clockwise and the next inside path being described as counterclockwise hence the term winding number This results in normally filled characters like in the o below e ip ER IB a eT Telo 1 se lhe N L K The current path direction clockwise or counterclockwise 1s shown in the Element menu Click on a control point and choose Clockwise or Counterclockwise from the Path menu to change path direction You can also change it via the path direction indicator in the Outline Window Path direction 1s only defined on closed paths gk V
300. s closed or splitting it 1f it was open and the selected point was not an endpoint rip Splitting a path Sometimes you ll need to split a path at a point to create either two open paths or if you re working with a closed path to create an open path Simply click on a point and then select Split Points from the Points menu Fontographer splits the selected point into two separate points Both of the new points are selected after Fontographer splits the point The point connected to the start of the original path according to the path s direction will be under the point connected to the end of the original path To split a path 1 Click on the point you want to split into two points Km D 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 Press the Tab key to deselect any selected points Choose the selection pointer from the tool palette Click on the split point and move it Splitting line segments If you want to split a path by splitting a line segment rather than by splitting the path at a point select the knife tool and drag across the path where you want to split it Fontographer splits the path creating two new points where the knife tool crossed or intersected the path Note Joining points When you want to connect a path to another by joining points as in instances where you are join
301. s described by a small program which draws the letter outline using PostScript eraphic commands In order to print the character on a page this character drawing program is run by the printer control software to draw and fill the outline generating a high resolution bitmap The bitmap is generated at the current point size and then copied to the page at the appropriate location Bezier curves The PostScript graphic commands available are straight lines arcs and Bezier curves A Bezier curve has control points which allow changing the shape of the curve An arc has uniform curvature everywhere but a Bezier curve allows non uniform curvature This property is useful in describing complex shapes with only a few well chosen control points Additionally Bezier curves have desirable smoothness properties which lend themselves to efficient generating programs Another useful property of Bezier curves is that it is very easy to guarantee smooth joins at the endpoints of the curve Smooth tangent Joins are very important to high 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 To minimize the amount of time spent generating bitmaps from t
302. s in the original two faces which I was able to easily correct But most importantly this technique enabled me to create a new font in just MINUTES rather than weeks 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 1s 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 The only limits are your own imagination and skill the raw materials the drawing tools and layers offer you all you need to start creating typefaces The Outline Window is the place to test your creative wings So go for it Add serifs to a sans serif font create geometric designs or import your favorite illustrations from other PostScript drawing programs If you want to learn more about the basics of font production make sure you read the Typography section and Type Designers section of the Bibliography in the Appendix at the back of this manual The tools provided in Fontographer s Outline Window let you alter graphic images or font characters in a number of different ways You can move points or paths duplicate points merge points insert points remove them or drag them You may want to alter your outlines based on other images placed in the Template layer of the window e
303. s made to the bitmap character s offset The width value is the character s advance width in pixels and cannot be changed in the Bitmap Window Changing the width in the Outline Window will update the Bitmap Window if you press the Recalc from outline button Ascent and descent values The ascent is the number of points between the baseline and the top boundary of the em square In the font pictured here the ascent 1s 19 pixels from the baseline Consequently the descent is the amount of pixels between the baseline and the lowermost boundary of the em square The descent for this point size 1s five pixels 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 However if you have selected to preserve line spacing in the Recalc Bitmaps dialog the maximum ascender and descender lines will not appear for that character they will be the same as the normal ascender and descender lines Offset and width values The offset is the distance in pixels from the left most black pixel to the origin line This value changes as you edit the bitmap character If there are no points between these two the offset is zero There are O pixels
304. s of each pair and the percent of the em square each kerning value represents The kerning pairs can either be printed in a monospaced font or in the current font open In Fontographer EB A A Characters The Characters sample type option provides you with four different choices printing one full page sized filled character several assorted sizes of the filled character a sample that shows the points of the character or a sample that shows both the points and X Y coordinates for each point To print a full page character sample 1 Select the character s you want to print from the Font Window or open an Outline Window for the character you want to print Choose Print from the File menu 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 EA A 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 Choose Print from the File menu Choose Characters from the Sample type pop up menu Click Assorted sizes Click Print m oP wm og To print the other print samples repeat the printing steps but instead click on Show points or Show points and coordinates The print header All printed samples have a si
305. s of print samples a single full page sized character assorted 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 If you Quit Exit with multiple unsaved databases open you will have the option to Close AIL Save AIL Cancel or Review The Edit Menu Undo Fontographer has 101 possible levels of Undo The default setting is ten This means that you can Undo the last ten things you changed in Fontographer The operation that can be undone will appear in the menu after the Undo if you are using the Outline or Bitmap Window Undo is not available in the Font Window Redo Redo allows you to undo an Undo There are 101 possible levels of redo Cut Cut deletes the selected object s and puts them in the Clipboard Copy Copy makes a copy of the selected object s and puts them in the Clipboard Paste Paste takes the object s 1n 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 Clipb
306. s outline definition that adjusts 1t 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 generates hints on by default You would do well to leave hinting on unless you have found some problem with the printing of your font which seems to indicate inaccurate hints So here is a toast to hinting in your fonts use it in good health A word about Flex Flex 1s helpful only for Type 1 PostScript serif fonts which meet very exacting design criteria If your font doesn t match this exact model then don t use Flex Here s what it does The purpose of Flex 1s to eliminate slight indentations in the font s outline at small sizes 1f possible while still keeping those same indentations at larger sizes When the Flex box is checked Fontographer applies subtle effects to cupped serifs and tapered stems Garamond is a good example of a font that would need Flex to properly render its serifs A segment will only respond to Flex if it meets certain requirements The segment must be composed of exactly two B zier curve segments typically created by placing a corner point a curve point and a corner point Theouter points must be perfectly vertical or horizontal meaning that they have the same X or Y coordinate The difference between the end points X Y
307. sepoint 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 AL 449 9 532 In the position display in the Outline Window distance from the basepoint is continuously updated as the pointer moves within the drawing area This on screen measuring tool makes it easy to measure character parts Just place the basepoint on a reference point of the character and watch the position display as you move the pointer Horizontal or vertical alignment of points is very easy to check set a basepoint on one point then drag the other until the horizontal or vertical delta 1s zero 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 1s 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 Or how about that logo you created with a pen or pencil before you ever heard of a graphics program What about the beautiful effects that are created with calligraphy fountain pens Wouldn t it be great 1f you could use all of these in your word processor With F
308. sitive checkbox 2 Pressure wenn bier Min OES width 3 em uris mam siroko width ao em units Cap Rrumd ki dom Kr znd Make sure the Calligraphic pen and other options are turned off 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 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 By applying varying amounts of pressure as you draw you can create Script characters with thick and thin areas like our example r P Em ca Choose Remove Overlap and then Clean Up Paths from the Element menu Fontographer removes the overlapping area and your character 1s complete If you are using a mouse instead of a pressure sensitive pen follow these instructions 8 Press and hold down the mouse button while moving it around on your desk or mouse pad to draw a character 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 w
309. sted metrics are halfway between completely manual metrics Set Width and Set Metrics and fully automatic metrics manipulation Auto Space and Auto Kerning Assisted metrics are for those typographers who don t quite trust the computer to do all their metrics creation for them 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 That s why not everybody likes them The best way to explain all this is by example so let s dive right in Metrics Assistance Metrics Assistance can be found under the Metrics Window Here 1s how the Metrics Assistance dialog box looks with one equivalence class Note asd am dap Sil OIE LIE EM Cx fore te Ire HE Sist Lime El Camel p RR a n LES SA E Eed m Ca EI El m Each line of this dialog box can have its own equivalence class When you have entered more than ten classes a scroll bar will appear along the right side of the box which will allow you to create more classes You can have lots of equivalence classes they are limited only by available memory Insert Line and Delete Line allow for intuitive grouping when rela
310. stitute of Technology School of Printing and this book grew out of his need for a simple handbook on the subject for his students It is a well designed and illustrated inexpensive paperback and would probably be your best bet 1f you have a casual interest in the subject and only want to read one book Letters of Credit A View of Type Design by Walter Tracy Boston David Godine 1986 224 p 111 A beautiful and profusely illustrated step by step demonstration of type design 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 1s the classic work in the field of typographic history Updike was a leader in the revival of traditional printing typefaces in the United States and was the founder of the Merrymount Press 1893 A series of lectures he gave at Harvard from 1910 1917 served as the basis for Printing Types which was first published in 1922 This Dover reprint is in two volumes 618 pages of text plus 300 unnumbered illustrations As Dover says in the jacket notes Printing Types presents the standards the landmarks in typography that anyone connected with printing must know In its mammoth illustrated coverage it is without a doubt the definitive guide to the subject Type and Typefaces by J Ben Lieberman New Rochelle The Myriade Press 1978 1s an al
311. sued 1970 1st ed of 1900 reprinted with an introduction and additional notes by Harry Carter Ix 16 xvi 203 p plate 1llus Facsims History of the types and typography of the Oxford University Press generally regarded as the preeminent scholarly press in the western world Nineteenth Century Ornamented Type Faces by Nicolete Gray Berkeley University of California Press 1976 Reprint of a classic from 1938 this large format 240 page work 1s the definitive book on its subject American Wood Type 1828 1900 by Rob Roy Kelly New York Da Capo Press Notes on the evolution of decorated and large wood types and comments on related trades As with the Nicolete Gray book this 1s the definitive work in its field The book was issued in several editions of which this paperback is the least expensive The Typographic Book 1450 1935 by Stanley Morrison and Kenneth Day Chicago University of Chicago Press 1963 A lush expensive visual treasury of almost 500 years of typography including 357 plates American typography today by Rob Carter New York Van Nostrand Reinhold 1989 159 p ill some col The Liberated Page Edited by Herbert Spencer San Francisco Bedford Arts 1987 An anthology of the major 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
312. t the default option ordinarily used if you ignore this choice Choose Draw dotted line to display your lines as a series of hash marks this option displays the strokes faster than does the normal option Pen tool The pen tool 1s for drawing outlines or strokes without having to change tools You can choose this tool while the lock icon is locked by typing the number 6 Knife tool Use the knife tool to cut paths or points Access the knife when using Note another tool while the lock icon 1s locked by typing the number 7 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 Both the incoming and outgoing paths can be adjusted with their respectively independent BCPs You can choose this tool while the lock icon 1s locked by typing the number 9 Tangent tool The tangent tool is used to connect straight lines to curves for smooth joins You can choose this tool while the lock icon 1s locked by typing the number 0 Rotate tool The rotate tool lets you rotate a character or its parts centering the rotation around t
313. t menu for the font and all the appropriate styles are referenced automatically when different styles are applied to the font This 1s the recommended method for creating font families However some people like to create font families that work in conjunction with a product called Adobe Type Reunion which makes your fonts display in the font menu in a manner similar to the Adobe typefaces Each of these faces has an entry for each style which appears in a hierarchical menu off of the font menu For example the 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 TT o OT gi Jr PR Sus n sus Sg Ee band Liig Pinder Saar Ghee prada Cidit d e 3 buy Wu Kusi La dada ria It is easy to create font families that behave like this All you need is Style Merger ResEdit and a couple of minutes Be aware however that if you create ATR style families everyone who uses that font without Adobe Type Reunion will have the penalty of seeing four entries in their font menu one for each style The first step in creating ATR compatible font families 1s to make sure you have named each font properly Type the name you want to see in the font menu in the Family Name field of the Font Inf
314. t of the v by 30 em units Fontographer also gives you the option of changing the 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 Now try the exercise with both options checked ZS n T i r You can now apply the desired weight to the entire font or just selected characters From the Font Window use the pointer tool to click and Shift click on the desired characters You can choose them all by choosing Select All from the Edit Menu Then repeat the procedure above to apply the selected changes to the desired characters Naming your font You can name your font by choosing Font Info General on the PC from the Element menu The Font Information dialog appears For this exercise name your font something simple like Garamond Fat Don t forget the hyphen before the Style Name For more information about naming your font refer to the section The menu name in Chapter 7 Generating and Exporting Fonts IT Hau be imi millu e LET lola k 1 ET TI EI drca LP
315. talic font Its icon will change to a font file icon once you name it and press Return Now your path should read Library Fonts MyCondensedLight Italic font Or if you re choosing the local library it should read LocalLibrary Fonts MyCondensed Lightltalic font 5 If you are installing your font into Library Fonts you can install your font simply by launching any application that uses fonts This will automatically load the fonts Continue to step number 6 if you re installing into LocalLibrary Fonts 6 If you are going to install your font into LocalLibrary Fonts you will need to launch the Terminal application and complete the following steps Type buildafmdir followed by the correct path to your fonts buildafmdir LocalLibrary Fonts Then type cache AFMData followed by the correct path to your fonts cacheAFMData LocalLibrary Fonts 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 Vo That 1s all there 1s to it You should now be able to use your fonts in Important If you still have trouble using your NeXT fonts refer to the section on generating a NeXT font and make sure you didn t miss something there If the font doesn t appear in the font list at all then suspect the afm file If the font ap
316. talling fonts in ATM Windows The CFG file CFG files are used by Adobe s Font Foundry DOS program for installing PostScript Type 1 fonts into major DOS programs such as WordPerfect Since this 1s the only use 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 FF are comments and do not need to be in the actual file When you are finally ready to run the Installer program copy the PFB PFM INF AFM and the CFG files to their own disk Installer Configuration File Contains package specific information used by the install program DISKSIAR 713 size in kbytes of floppy disk used FILE INSTALL CFG 1 the CFG file must be named install cfg FILE README 1 It looks for a Readme file to install Font entry fields Fontname PostScript name of the typeface Filename 5 character PC filename base Number of the disk this filetype sits on or zero if nor Presents One entry for each filetype PFB INF CTF 4 PFM ABF and AFM FONT Nova Normal NON 11 01 0 1 FONT Nova Oblique NOO0 110101 FONT Nova Bold NOB 11 01 0 1 FONT Nova BoldOblique NOBO 110101 DI
317. tended for the hacker If you don t know a salad fork from a resource fork then don t proceed We offer this glimpse below the hood of Fontographer to people experienced with how resources work on a Macintosh If you don t qualify but still want to try this first get a handbook on how to use ResEdit and learn it well before proceeding Adding custom encoding vectors What is a custom encoding vector Different languages have their own encoding vectors It represents the layout of the script or alphabet In previous versions of Fontographer it was very difficult to set up a foreign language script It required setting new character names to each of the cells in the font In Fontographer 4 1 we have added two special resources to the STR resource in order to enable you to set up a custom encoding vector with custom names To create your own custom encoding vector you will need to be familiar with the use of a Macintosh resource editor such as Apple s own ResEdit The particular resources we will begin looking at are id 384 and 386 Before you begin make a copy of Fontographer 4 1 to work with When Fontographer is open in ResEdit you will only be able to run one copy of Fontographer at once Therefore you should work on a copy so as not to cause 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 the
318. ter s incoming and outgoing strokes But once you get it to work right it will look quite natural especially 1f here and there you leave an incoming stroke off You will want to avoid kerning as much as possible and should design an alphabet set that needs very little For Chinese or Japanese calligraphy or to give an oriental flavor to a western alphabet try a cordless pen and drawing tablet with Fontographer set to pressure sensitive pen only It s very quick and sensitive and will take a little getting used to but with some practice you will be able to construct Chinese characters with only minor need for point adjustments If you are quite serious about working on a Chinese font you will probably want to work out a library of the basic strokes and copy from that storehouse when building new characters The Remove Overlap command will be very handy You can always adjust each new character for balance and style e D ef a F Ter see i P kee aq Das F apus al Li Creating variable weight characters Note Variable weight characters give the effect of being drawn with a brush That is they can have wide and thin areas Fontographer s freehand drawing tool can be used directly with the mouse or with a pressure sensitive pen and digitizing tablet to give you these effects To use the pressure sensitive pen 1 Double click on the freehand drawing tool The Freehand Tool Setup dialog appears Click on the Pressure sen
319. ternative to the Lawson book but much less accurate bigger 142 pages 8 1 2 x 11 hardcover and much harder to find Lieberman was an enthusiastic amateur printer and this book is an exuberant look at the history classification identification and personalities of typography It includes examples of over 1 000 type faces and is well illustrated Lieberman was not a scholar but if you like unabashed boosterism you might find this book fun to read despite its errors of both omission and commission Fine print on type the best of Fine print magazine on type and typography by Charles A Bigelow Paul Hayden Duensing Linnea Gentry San Francisco Fine Print Bedford Arts 1988 is an excellent selection of articles from Fine Print magazine the one indispensable periodical that anyone concerned with type should subscribe to Each issue 1s designed by a different typographer and 1s printed by letterpress In addition to scholarly articles typographic overviews reviews and notices of new books on typography a supplement included with each issue 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 Typographical periodicals between the war
320. th just a few changes to a few characters in that font When I use Fontographer to Open font and get the outlines of the characters of the font I want to duplicate I find that the resulting font doesn t have any of its characters kerned like the original What should I do Choose Import from the File menu and then select its submenu Metrics to import the kerning pairs from the original font s AFM or PFM file or bitmap file Sometimes when I generate PostScript files with Fontographer then look at those files in a Finder window by Name I see that the document type for those files contains the name of one of my other PostScript fonts Why does this happen and what can I do about it Weird and wonderful are the ways in which the Macintosh Finder gets the information it shows you in the by Name view We have found that if you wish to avoid this problem always generate your PostScript files into a closed folder If you have a lot of files that already have this problem and you d like to fix them you can use ResEdit or DiskTop to set the Bundle bit on each file or you can use the public domain BundAid program to set them all at once After having set the bundle bits be sure to rebuild your desktop file by restarting your computer and then holding down the Option and Command keys until you see a dialog that asks you if you want to rebuild your Desktop file Answer Yes and your desktop file will be rebuilt and yo
321. that tell your computer to treat nearly flat paths as straight lines or to find extreme points Change Weight Change Weight allows you to change the character s thickness You can choose to correct path direction before changing the weight to maintain proper filling You can also limit the change in size to either vertical or horizontal size Clean Up Paths Clean Up Paths improves the quality of your outlines It removes unnecessary points and adds points where they are needed Simply create the paths any way you d like and Fontographer will automatically clean them up for you Expand Stroke 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 You may also choose to preserve the line spacing or the character shapes Recalculating bitmaps is useful when you change a character s outlines after having created bitmaps Remove Overlap The Remove Overlap item allows you to merge and remove overlapping areas You ll get the best results 1f your path has a normal fill If the path has an even odd fill you will
322. the files in their proper places Click OK to install the font 5 The System will put the PostScript file into the Extensions folder and will automatically install your bitmap fonts in the System file Your font 1s 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 You don t even have to quit all your programs before installing a font Wow This is really easy 1 Select both PostScript and bitmap files by dragging the pointer around each 2 Drag both files on top of your System Folder and drop them there Eh The System will ask you if you want it to put the fonts into the Fonts folder inside your System folder Click OK to install the font Both PostScript and bitmap files are moved into the Fonts folder Your font is now installed The font name will appear in the Font menu for each application that has a Font menu Important Don t put your Fontographer database file in System 7 1 s Fonts folder Doing so could cause problems for Fontographer when you generate your fonts Installing PostScript fonts with Suitcase or MasterJuggler Suitcase from Fifth Generation Systems Inc and MasterJuggler f
323. the stem to the right side of the serif Hint direction doesn t matter 2 Select those two hints 3 Choose Build Serif from the Hints menu and those two hints will be replaced by a serif hint 1 E E The other method is to select four points which define the serif and choose Make Horizontal Serif or Make Vertical Serif from the Hints menu To get the two separate hints back again select the double headed serif hint and choose Split Serif from the Hints menu To make a new diagonal hint 1 Select four points which define the diagonal stem sS e us 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 Fani inpr imira om I mi 4 C h Bani q In mn bin 1 3 I ri Hint type Hint type is a pop up menu showing which kind of hint you are currently examining The message to the right 1 of 2 means that you are currently looking at the first of two hints of the indicated type Vertical stem in this case To look at the other hints simply choose the hint type you are interested in from the Hint type pop up menu The area di
324. ther Each time there s a new little straight line you have a turn point PostScript level 1 font characters can t have more than 1500 of these per character and when you image a character on a 300 dpi printer like a LaserWriter not as many turn points are generated because fewer are needed to define a curve at this low resolution Thus the LaserWriter will print the character because its low resolution avoids exceeding the 1500 turn point limit while the imagesetter with its higher resolution exceeds the limit Similarly the number of turns required to image the curve at 12 points 1s far fewer than the number required at 120 points The solution to this problem is either to make a Type 3 font with internal composites as described in Chapter 1 or to make a Type 1 font with the character broken out into parts in various characters so that the first few parts have zero width and the last part has the actual width of the entire logo To get the whole logo simply type the character strings each of which will pile on top of the last one until the final character in the series finally moves the cursor to the right to give the character its true width My ttf font shows open rectangles in the character slots instead of the characters What went wrong and how can I fix it If this 1s happening with signatures or symbols logos icons and picts your character is probably too complex for the TrueType rasterizer You can get around this by ei
325. ther simplifying the object or splitting it into multiple keystrokes e g AB instead of A to access the image For a signature place John in the J slot and Smith in S If the last name is too long such as Supercalafragilisticexpialadocious you ll need to split that too This could take a bit of experimenting until you get it working If ALL of the characters appear as rectangles 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 1 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 I ve imported some characters into Fontographer from FreeHand or Illustrator by using Option copy and the fonts seem to print OK but I can t Convert to paths in Illustrator 3 x Why Some further rules of Type 1 fonts state that no overlapping paths are allowed in a Type 1 character If your imported characters were drawn in such a way as to overlap some of the paths you will need to redraw those portions of the character that overlap Another reason for this problem can be that a path in a character was accidently left open unclosed Make sure that all outlines for a Ty
326. ther than one for each font It 1s easy to appreciate the urge to merge your fonts In order to build families you must use appropriately named fonts In other words their names must have the same base 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 Tiger pm UE 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 This 1s important to remember Families Note for making families on all platforms Windows SUN NeXTSTEP Making the family name the same is all you need to do to create a font family for Windows NeXTSTEP and SUN environments For more information about these systems see Chapter 7 Generating and Exporting Fonts Font families on the Macintosh If your font is a logo typeface or one that contains special symbols you probably don t need to make a family of fonts In fact many people use Fontographer to make only one version of a typeface In these cases family information is not important But if you are ambitious and have made more than one member of a font family you can use Style Merger to bring those styles together into a family of Macintosh typefa
327. ting characters to one another In the left hand column you choose the base character This 1s the character whose attributes will determine the values applied to the other members of that particular class Next you choose what attributes the equivalence class is going to govern Then you choose the other members in the class these are the letters whose values are going to be set according to 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 If the Link to base checkbox 1s checked whenever the values in the base character change the corresponding values in all the other characters in that class will be automatically updated Finally you can link everything together This 1s similar to the Link to base checkbox but Link all means that if any of the character s controlled attributes change all other character s attributes will be automatically updated 1ncluding the base character Using these definitions let s explore the sample equivalence class Our base character 1s A That means that the attributes of the A will determine what the other character s attributes are We chose to control both the left sidebearing and the width
328. tle history and a fairly detailed examination of every stage of the process If you are interested in books in general this is a good place to start Out of print but rather ubiquitous at second hand and antiquarian dealers The Book The Story of Printing amp Bookmaking by Douglas C McMurtrie New York Oxford University Press 1943 Almost 700 pages of large type devoted to the history of the book by one of the most prolific writers in the field Easy to read anecdotal and illustrated Although out of print it 1s not particularly scarce and if you can find it probably the quickest way to get up to speed on printing history Electronic Typography The Macintosh Font Book 2nd Edition by Erfert Fenton Berkeley Peachpit Press 1993 350 pp Everything you want to know about Macintosh fonts and type faces including type terminology building a typeface library font management printing options and a near complete list of available Postscript typefaces with vendor addresses and typesetting service bureaus The second edition of this award winning book covers TrueType fonts System 7 and much more The best all around introduction to the world of Macintosh specific font handling Desktop Publisher s Survival Kit by David Blatner Berkeley California Peachpit Press 1991 172 pp 800K disk An excellent overview of the various facets of desktop publishing on the Macintosh Blatner writes informally and well and provides a goo
329. tographer 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 If paste doesn t work try copying one or two rows of the database at a time Next you will need to rehint the font as follows from the Hints drop down menu select Vertical Alignment Zones click on Recalc and click OK Then select Hint Parameters from the Hints drop down click Recalc and click OK Go to the Hints menu and select Autohint twice to turn it off and back on I want to use Fontographer to create my own version of a non Roman font Why can t I load an entire 2 Byte font into Fontographer 2 Byte fonts contain tens of thousands of characters Fontographer 4 has a limit of 8 192 characters You will need to create more than one database font generation in order to get all the characters you need You can access characters above 256 in Windows via Uni code Get a copy of the Unicode Standard book from Addison Wesley You will need to purchase either an Operating System such as Japanese MS Windows or find a keyboard driver and an editor which support your Unicode characters Try Eastern Language Systems at 801 377 4558 or Gamma at 310 451 4725 for more information You ll need a special MS Windows driver from Microsoft to let your keyboard access the Unicode characters Windows 95 recognizes the entire Unicode book but Windows 3 1 only recognizes ANSI Unicode values
330. ts Illustrated commissioned my studio to design six typefaces a set of six sans serifs in differing widths Champion Gothic Heavyweight Middleweight Welter weight Lightweight Featherweight and Bantamweight These fonts were drawn in Adobe Illustrator and manufactured 1n Fontographer In 1992 the rights for these typefaces bounced back to me and I began selling them retail Several art directors called to say how much they liked the six fonts but expressed hope that I would someday extend the range to include a super condensed typeface Given that no one was willing to underwrite the design of a seventh font whereas Sports Illustrated had paid for the considerable development of the 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 Using interpolation I could quickly create intermediate fonts between the Bantamweight and Featherweight types more importantly using extrapolation using a blend amount greater than 100 percent I was able to carry the changes from the wider Featherweight font through the narrower Bantamweight font into a new typeface a super condensed sans serif I dubbed Champion Gothic Flyweight Feather Weight Bantam Weight Hy Weight By caricaturing the ways in which the Bantamweight and Featherweight fonts differed the new extrapolated font highlighted some of the design flaw
331. ts dealers Type Designers Twentieth Century Type Designers by Sebastian Carter New York Taplinger Publishing Company 1987 An excellent look at the people behind the type faces with in depth profiles of designers such as Goudy Morrison Zapf etc Typologia studies in type design amp type making with comments on the invention of typography the first types legibility and fine printing by Frederic W Goudy 1865 1947 Reissued 1977 Berkeley University of California Press xviii 170 p ill 24 cm Written by the most prolific type designer of the 20th century creator of among others the eponymous Goudy Oldstyle this reprint of the 1940 edition discusses the history function and meaning of type and gives some very good insights into how a type designer works 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 Manuale Typographicum 100 typographical arrangements with considerations about types typography and the art of printing selected from past and present printed in eighteen languages by Herman Zapf Frankfurt New York Z Presse 1968 Herman Zapf is known to most desktop typographers primarily for giving his name to the Zapf Dingbat font He 1s in addition one of the
332. ts to Grid Align Points to Grid will align the selected points with the nearest intersection of grid lines If no points are selected then all points are aligned with the grid lines Hold down the Option or Alt key during the selection to align BCPs as well Merge Points Selecting this item will remove the selected point without breaking the path it 1s on If you need to open a path use the Delete or Backspace or Clear key or the knife tool 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 Selecting this item while other kinds of points are selected will change those points to curve points Corner Point This item will be checked if the selected point is a corner point Selecting this item while points of other kinds are selected will change those points to corner points Tangent Point This item will be checked if the selected point is a tangent point Selecting this item while points of other kinds are selected will change those points to tangent points Set Basepoint If you have not selected any point
333. tuff which appears in the Advanced mode Macintosh fonts Macintosh fonts require two particular font resources the outline font and the FOND In the case of PostScript fonts these font resources are in separate files For TrueType fonts the two resources exist in the same file This section will deal with the How to issue of generating the font resources Much more information on how to make use of the fonts once they re generated will be covered in Chapter 9 Installing and Removing Fonts Tore poles Pim iul eds Bia I ibi Sei Palo Gal pal Leger Force Tyee In FILS s indies bia dig Tee i pea ilis PostScript Type 1 PostScript Type 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 Type 3 fonts have their own advantages which will be discussed in detail in the next section To generate Macintosh PostScript Type 1 fonts 1 Choose Generate Font Files from the File menu 2 If you are not already in the Advanced mode click on the Advanced radio button in the Generate Font Files dialog 3 Select Macintosh from the Computer pop up menu In the Encoding pop
334. u 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 The advantage to the System 7 mapping 1s that there are now four new characters that are accessible from the keyboard and some of the other characters are more logically accessible There are three things you can do 1 Learn the new keypresses so you ll know what to type when you need these characters 2 Apple has a KCHR resource called oldUS which can be used with System 7 to emulate the old keyboard mapping You should be able to download this resource and instructions for its use from CompuServe or America Online If you have CompuServe GO MACBVEN choose Data Library 3 Altsys and download the file named SY7KCH SIT If you have America Online type Command k and enter the name Altsys in the dialog then open the Fonts and Demos library and choose the file called System 7 Keyboard Remap 3 Upgrade to System 7 1 which comes with the System 6 keyboard mapping as an easily changed option in the Finder Below 1s a chart that diagrams the changes to the keyboard which appeared when System 7 was released The S character stands for Shift the O character stands for Option Hold down either the Shift and or Option key while typing the next cha
335. ue values from PostScript Type I fonts It can also calculate blue values itself by examining characters 21 7E decimal 33 126 to see where the topmost and bottommost parts of those outlines lie Those areas are typically what should be included in the vertical alignment zones The fields in the Vertical Alignment Zones correspond exactly to the little I beams that appear along the left side of the Outline Window when the Hints layer 1s visible These I beams are the vertical alignment zone indicators You select them by clicking on them with the mouse selected zones appear to be hollow on each end When a zone indicator has been selected horizontal lines go through it to make it easier to tell which points fall inside the zone You may change the size of any of the zones by dragging either the top or bottom part of the indicators To describe the location of the zone numerically you must use the Vertical Alignment Zones dialog box To remove a zone you can select it and then press the Delete key You may also go into the Vertical Alignment Zones dialog box and enter 0 for both the low and high value for a particular zone To create a new zone go into the Vertical Alignment Zones 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 N
336. uee selection tool by typing 5 i n The move tool lets you move the bitmap character away from its outline in any direction When the lock icon is in the locked position you can access the move tool by typing 6 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 1s in the locked position you can access the measuring tool by typing 7 The magnifying tool can increase the screen size of the bitmap by 2 4 8 or 16 times its actual size When the tool appears on screen click the mouse and release to show a magnified version Clicking again increases the magnification unless there isn t a larger size in which case an empty magnifying tool will appear To reduce the size of the bitmap hold down the Option or Alt key The magnifying tool will display a minus sign amp tip Note When the lock icon 1s in the locked position you can access the magnifying tool by typing 8 When you can no longer enlarge the image the magnification tool will display nothing in its center Undo and Redo There are a few ways to undo and redo changes made to the bitmap If you wa
337. umeric keys But since extended ASCII characters on the PC are accessed by typing the ALT 0XXX key combination if you want the copyright symbol O hold down the ALT key and use the numeric keypad to type 0 followed by the decimal number for the copyright symbol which is 169 Do likewise for every other extended ASCII Dec 128 255 character If you have any 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 We include it for those one or two folks who are using older applications which may require it The instructions for using Type 3 fonts are very similar to the Type 1 discussion The only additional note 1s that you will have to provide a bitmap screen font for the application You can start with our BDF format and use some conversion tool in DOS to make it into a usable format NeXT and Sun PostScript fonts Whether you are running NEXT STEP on a sleek black discontinued slab or a 486 machine your NeXT Type 1 PostScript fonts will behave similarly For that matter using your Sun fonts on a SPARCStati
338. urrent users What s New is in two parts Part I Best New 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 Look for this tip icon throughout the manual or find them under Tips in the Index Before you begin Getting started Before you can actually start using Fontographer you need to check to make sure your package is complete Your package should include a User s Manual this book What s New Using Fontographer on Your Macintosh OR Using Fontographer on Your PC a Quick Reference Card a product registration card and of course a CD ROM In the event you don t have access to a CD ROM reader you will also find a floppy disk request card with which you can request software on 3 5 diskettes Make sure that you have everything you need to be able to use Fontographer If you are using the Macintosh version of Fontographer 4 you must have a Macintosh Plus or higher computer running a System 6 or later operating system with 5 1 MB hard drive space and at least 4 MB of available RAM It s also a good idea to make sure you hav
339. use fonts In this chapter we will discuss all the options available to you in the wonderful world of font generation Before you do anything Fonts on the computer all have names and your fonts are no exception If you have not gone into the Font Info dialog and entered a name for your font be sure to do so before generating any font files Otherwise your fonts will have names like Untitled which probably isn t the name you 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 1s The default 1s 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 This enables you to always know at a glance which file you are presently working on Easy or Advanced Fontographer is a do all end all font editor It is the Louvre of Font Design programs Since there is so much to see and do in it we created many of our dialogs with an Easy option to simplify the process Most novice users of Fontographer will be prudent enough to select the Easy option and let the program set the desired font up properly But more advanced readers beware You know just enough to be dangerous with font generation r mama m m m Elm Gees
340. ut in font 2 it only has two Or the Ccedillas c don t match because in one font you used remove overlap causing the character to have one path but you forgot to do it in font 2 so the c still has two paths The message different types of paths occurs when a character such as c 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 The path 1s the number of the path that the error message applies to and it doesn t check any further than the first mismatch The last message Character missing in font 2 means that while one font has this character the other does not and Fontographer can t blend what isn t there If the two fonts do not have the same number of character slots your blended font will have the same number of characters as the font with the fewest character slots After consulting your log file you can go back and correct the errors and then blend again blending only the selected characters if you wish to finish your font blend Just remember the key to success using Blend Fonts is that your characters in both fonts must have the same number of paths the same types of paths and each font must have the same number of character slots For information about the more technical details of the blending process refer to Chapter 10 Expert Advice Jonathan Hoefler sez In 1990 Spor
341. ve your mistakes and start over E uum cA EN After you choose the Plain bitmap the little suitcase file image to the right of the button changes from gray to black indicating that you ve already selected a Plain font In addition a proposed new family name appears just above the Save Family button on the right This name isn t set in stone you can change it when you press the Save Family button Notice that the Save Family button is disabled until you choose the second font to merge into the family Now that you ve chosen a Plain face Style Merger enables the Bold Italic and BoldItalic buttons and it also puts a bold outline around the Bold button directing you to press 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 Nova Bold Once you have accepted the file selection dialog box the name Nova Bold appears next to the Bold button and the Save Family button becomes active This is because you could save the family at this point and be finished This 1s useful when you don t have all four styles to merge into a family Style Merger bolds the Italic
342. 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 If you are printing to a non PostScript printer Fontographer must draw each character unhinted so the quality may be slightly lower It should be noted that when Fontographer s print samples are output to a non PostScript printer they only show an approximation of what the font will look like when actually installed Subtle variations will appear depending on the type of font generated Type 1 Type 3 TrueType etc Fontographer s print command in the File menu provides several options for printing font samples most of which give you the opportunity to choose the point size of your printed sample Sample text The first choice in the Sample type pop up menu is Sample text which provides three printing options Choosing All characters prints all the characters of the font at the point size you designate To print a sample of all characters Choose Print from the File menu Choose Sample text from the Sample type pop up menu Click the All characters radio button in the Print sample dialog box Click Print B xe i Choosing Selected characters allows you to print characters selected in the Font Window at a
343. wn the Option or Alt key to draw the oval outwards from the center To constrain the oval to a circle hold down the Shift 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 1s locked type the number 4 Press the Option or Alt key and click the mouse to draw a straight line that centers on the point where you click and extends outward as you drag Freehand tool The Freehand tool can be used to draw paths freestyle or as either a variable weight or calligraphic pen tool The calligraphic pen tool draws calligraphic lines You can set the pen width and angle from the dialog accessed by double clicking on the icon To use the calligraphy pen when the selection pointer or other tools are selected while the lock icon 1s ocked type the number 8 n From the dialog accessed by double clicking the icon you can choose the Freehand tool by selecting the pressure sensitive option Choose the maximum and minimum widths of strokes as well as the shapes of caps and joins The Tight curve fit option lets you increase how much the outline conforms to the curved lines you draw The other option is normal fi
344. xels Using the Bitmap Window Note 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 Selecta 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 Choose Open Bitmap Window from the Windows menu You have to have created bitmaps before you can view them If you rip E n don t have any bitmaps for the font yet Fontographer will prompt you to create some You can type in whatever sizes you d like in the Bitmap Information dialog which will appear automatically if you try to open the Bitmap Window without first creating bitmaps NES ech Ce E zu sss sa You can open multiple windows so that different characters or even different point sizes of a single character can be worked on at the same time This 1s especially helpful when you are editing a character with several bitmap sizes The Bitmap Window The Bitmap Window includes a title bar that shows the name of the font the point size of the character and the character itself The toolbox contains a pencil eraser hand tool marquee selection tool magnifying tool measuring tool straight line tool and
345. you to change the label over each character slot The default choice display mode is Character which shows the character symbol above each slot On the Macintosh if you choose Keystroke to display the keystrokes that correspond to each character and scroll the window down so that you can see the international characters you will see some cryptic things like SOe and Oee SOe means that to produce this character you will need to press the Shift key the Option key and the e key simultaneously producing the character o In the case of Oee the procedure is slightly different press the Option key and the e key simultaneously then let up on them and press the e key by itself In Fontographer for Windows if you choose Keystroke to display the keystrokes that correspond to each character and scroll the Window down so that you can see the international characters you will see numbers in the label like A0174 Characters in the extended range are accessed by pressing the Alt key and typing the decimal number preceded by a zero For instance to produce the hold down the Alt key and type 0174 Similarly to reach the Y 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 Note Note Note Note Note Note
346. ze the spacing for the character combinations most likely to occur and basically let Fontographer worry more about how Th is spaced instead of how T is spaced The second dialog is the How much dialog which determines the tightness or looseness of the spacing works just like it does in the Easy mode dialog described earlier in this chapter The third screen is the Technique dialog IZ aa PA sma O Bd psi del rar E Wi ej ber gl cir imas iria E unnarwq gara ip pa isa mba epa UA AN si This dialog allows you to customize some of the behavior of Auto Spacing Check Monospace numerals if you want all the numbers to have the same width Check Adjust left sidebearings if you want to let Fontographer in its quest to achieve optimum spacing move the character around relative to the origin Some people are pretty adamant about where their characters sit relative to the origin so they want Fontographer to leave them alone and do spacing solely by adjusting the widths which is what happens if this box 1s left unchecked Note Check Allow negative right sidebearings if you want to let Fontographer have portions of the character outlines extend to the right of the width This will generally allow tighter spacing but can in some cases cause certain characters to touch each other The Threshold field contains a value which influences the grouping of sets of character pairs Fontographer is considering Threshold is a nu

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