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Opening a Font
File -> Open

Basics of FontLab Studio 5

Ted Harrison Fontlab Ltd. http://www.fontlab.com
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The Font Table

The Font Table

Cells Labels Colors Yellow encoded Gray unencoded Red marked Green selected Types Background colors White w/ black glyph = character+glyph White w/o glyph = character, no glyph Gray w/ gray glyph = no char or glyph Gray w/ no glyph = no char,glyph,template Dark blue = selected Red, green cyan, != marked
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The Font Table

Cell icons H (LLQ) character has hint replacement program or overlapping T1 hints Green = good Red = bad T (RLQ) has TT hints Blue = original Brown = manual M (RUQ) has mask layer Ylw/grn = compatible Ylw/rd = incompatible Note has note. RMB/<ctrl> click-hold to read it

The Font Table

Encoding modes Name Unicode Ranges Unicode Codepages Index Save encoding saves .enc file

The Font Table

Selecting click cell Drag-and-drop Range drag-and-drop New glyph dbl click +<ctrl> - multiple windows

The Font Table

RMB/<ctrl>-click menu Width of table Copy/Paste all layers Append to end of table Delete Action Add note Rename Mark marks and unmarks cells Open open in new window Properties glyph properties

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The Font Table

RMB/<ctrl>-click menu Width More Select encoding Select glyph as default Remove Unicode

The font Table

Customizing the font table: Size Caption Mode Encoding

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Glyph Edit Window

The Glyph Edit Window

Edit tool Click = select Click-drag = move Dbl-click = select contour Erase tool Knife tool Meter Drawing Pen

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Glyph Edit Window

VectorPaint Tools Lasso Pencil Brush Line Polygon Text tool Color Empty Auto Black White Brush Options Brush Style
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Glyph Edit Window

Guidelines Horizontal Vertical Diagonal

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Metrics and kerning window

Metrics

Window->new metrics window Mode Text Preview Metrics Kerning

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Metrics and kerning Window

Text size Options Tools Text string

Metrics and kerning window

Metrics Mode Sidebearings Auto

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Metrics and kerning window

Kerning Mode Manual vs digital Auto

Font Info

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Font Info
Names and copyright Version and ID Metrics and dimensions Encoding and Unicode Hinting settings Type 1 settings TrueType settings

Font Info
Names Font name Family name Menu name Copyright

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Font Info
Version Metrics Encoding

Font Info
Font Note

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Font generation
Saving - .vfb format

Font Generation

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Font Generation
Windows Type 1 TrueType/OpenType Macintosh Type 1 TrueType/OpenType

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!"# !$%&#'( #)*+

PostScript Type 1 created 1 985 1 990 by Adobe Systems declared obsolete in 1 999 !" #"$%% &'&!%() exists in two platform variants: !" #$%& '* resource-fork suitcase + LWFN! printer file(s) works on !"() *+, and !" () doesn"t work on Windows ./0 #$%& ' 2 4 data-fork files (.pfb, .pfm + possibly .afm, .inf) works on ./01234 and some Unix/Linux systems doesn"t work on MacOS 8/9 or Mac OS X * only supported in FontLab for Mac
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!"# !$%&#'( !*+"#)*+

OpenType / TrueType created 1 987 by Apple and Microsoft extended 1 996 1 999 by Microsoft and Adobe exists in two flavors: !" #$%&#'(& ) *(&"#'(& ## one data-fork file per style, extension .ttf works on !"+,-. and /01 *2 3, Unix doesn"t work on MacOS 8/9 *(&"#'(& 42 (PostScript/CFF) one data-fork file per style, extension .otf works on !"+,-.5 /01*2 65 /01 *2 35 Unix doesn"t work on MacOS 8 support limitations on other systems
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OpenType the Easy Way

Ted Harrison Fontlab Ltd. http://www.fontlab.com

OpenType

What is it?

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OpenType

What is it?

Readings on OpenType
OpenType: The Next Level of Digital Typography (Mark Eastman, Communication Arts) http://store.adobe.com/type/opentype/CA-Aug02.pdf OpenType ushers in new era of typography (Edward Mendelson, Creativepro.com) http://www.creativepro.com/story/feature/6503.html Will Adobe Finally Push OpenType into the Big Time? (Terri Stone, Macworld) http://www.macworld.com/2001/08/bc/20adobe_opentype/

TrueType with more tables. Uses one file (the same file) for both Mac and PC Allows very sophisticated typography through the use of OpenType features (in applications that support OpenType) Can use either TT or T1 glyphs.

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OpenType References
Specifications Microsoft: http://www.microsoft.com/typography/tt/tt.htm Adobe: http://partners.adobe.com/asn/tech/type/opentype/otover.jsp

The Hard Way

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OpenType the Hard Way

Design Glyphs Do metrics and kerning Hint glyphs Name and encode glyphs Write OT feature scripts Test and debug OT feature scripts Name, ID, and generate the font Test fonts in OT-compatible apps Debug and retest, etc.
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The Easy Way

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OpenType the Easy Way

Design Glyphs Do metrics and kerning Hint glyphs Copy/paste characters into FreeFontPro template (or make your own) Name, ID, and generate the font - Voila! You!re done.

opentype the Easy Way

Design Glyphs Do metrics and kerning Hint glyphs

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opentype the Easy Way

Copy/paste (special) glyphs into FreeFontPro template (or make your own)

opentype - Easy Way

Name, ID, and Generate the font FFPro already has built in: Alt forms Small caps Lining figures Tab figures Old style numerals Superiors Inferiors Ligatures Diphthongs Currencies Ordinals Cap spacing Fractions as standard OT features

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OpenType the Easy Way

Advantages: Avoid tedious re-entry of Font Info data Use a template of known quality to eliminate encoding errors Eliminate debugging and testing by re-using OT feature scripts that have already been debugged and tested

The Really Easy Way

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OpenType the Really Easy Way

Check the "Add OTF features# checkbox Import a Type 1 font Name, ID, and Generate the font

OpenType the Really Easy Way

Check the "Add OTF features# checkbox Tools->Options->T1 Import

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OpenType the Really Easy Way

Import a Type 1 font FL automatically creates: cpsp frac ordn liga If the appropriate glyphs are available

Other OT Shortcuts

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Other OpenType shortcuts

Use Python Macros to create characters Tim Ahrens! Auto SmallCap http://www.fontlab.com/html/python.html Write your own!

Drawing Power in FontLab Studio 5

Ted Harrison Fontlab Ltd. http://www.fontlab.com
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The Glyph Window

Scale,zoom Control marks Note icon Rulers and scroll bars Window options Glyphs bar Undo/redo

Glyph Window controlbar

Scale Zoom Meter panel Control marks (T, R, M) Note icon

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Glyphs bar & window options

Lock/unlock Toggle meter panel Zoom Expand/close Selecting a glyph for editing

User interface
Meter tool

Meter panel

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User interface - Glyph toolbox

Edit tool Eraser Knife Meter Pen Add corner, curve, tangent Rectangle, ellipse Transform TT and T1 hinting
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User interface - Contour toolbox

Flip: Horizontal and vertical Interpolate nodes Envelope Move node Simplify segment Set contour direction (PS,TT) Merge contours: Get intersection

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User interface - Editing layers

Editing layer groups window

User interface - Editing layers

View -> Show layers Dockable toolbar

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User Interface
Lock Layers

User Interface
Snap to Layers

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User interface - Rulers and Guidelines

Scrollbars Rulers Units per eM (UPM) Guidelines Horizontal & vertical Angled 3 degree constraint <shift> Parallel Remove

User interface - Guidelines

Guidelines menu RMB/<ctrl>click Convert to global Align Delete Create orthogonal Properties Coordinate Angle

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User Interface Exercise

Open FontLab; Open a font; Open the glyph window; Select the space character. Make the grid and guidelines layers visible. Remove all other layers. Lock the outline layer. Place a horizontal guide at a level of 402 eM units. Turn it into a global guide. Place a 42 degree angle guide at 28. Create another parallel to it at 20. Remove all guidelines.

Edit mode

the edit tool

Node select <shift> Segment select <shift> Contour select <x2> Node properties <ctrl> Node menu <RMB>/<cntrl>click Node insertion <cmd+opt> Convert to curve <alt>

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Edit mode
The Nodes properties panel <ctrl><click>

Edit mode
The Node menu (RMB/<ctrl>click)

The TheNode Nodemenu menu

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Edit mode
Eraser Standard Marquee <cmd> Knife Add node Cut stem Delete line <opt>

Edit Exercise
Open the A glyph cell Select an apex node and delete it. Cut one of the legs; select the lower contour; drag it 10 units to the right. Add a node in the middle of the top of the crossbar; select the segment to the right; delete it to leave an open contour. Select the bottom right node and move it 11 units to the right and two units up.

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Edit mode
Bezier drawing tool (pen)

Edit mode
New contour tools Add corner Add curve Add tangent

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Edit mode
Transform tools Rotate Scale Slant Transform Box

Edit Exercise 2
Open a blank glyph window. Draw a D using the contour tools. Select the inner contour and scale it up by 10%. Draw a dot in the counter of the D using the Bezier Pen. Select the D but not the dot and slant it 12 degrees to the left (hint: use a guideline).

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Contours
Open and closed Filled and unfilled Startpoint and closepath

Contours
Type 1 (cubic b-spline)

TrueType (quadratic bsplines)

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Contours
Connections: sharp vs. smooth Changing connection type Double-click RMB/<ctrl>click ->menu

Contours
Convert Delete Duplicate Retract BCPs Add anchor

node commands

Make node first

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Contours
Reverse

contour commands

Contour Exercise
Open the 5 glyph Change the extremum node of the bowl to a sharp connection and make it the first node. Break the contour at the node in the upper right corner. Select the top segment and make a parallel path.

Contour Make contour first Delete Subtract Select Make parallel path Break contour Make corner Fixed BCP direction

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Nodes
Moving nodes and segments Selection Click Marquee Magic wand Click-drag Copy-paste

Nodes
Inserting nodes Edit tool Win: Hold RMB then click LMB Mac: <cmd><opt>click Knife tool click-drag across outline

Add corner, curve, tangent

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Nodes
Removing nodes Edit tool Win: Hold LMB then click RMB Mac: click-drag node then <ctrl>click Eraser Click Marquee select Node menu Edit menu

Nodes
Non-node editing

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Selection
Edit tool <shift>click selects node Double-click selects contour Marquee selects segment Magic wand - <ctrl>+Edit tool Selects nearest contour +<alt>/<optn> selects nearest contour & all contours inside it Lasso in VP toolbar

Glyph popup menu

RMB/<ctrl>click in blank area Outline commands

Segment <Shift>click both ends Marquee select all nodes in segment Edit menu Select All Invert Deselect
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Glyph popup menu

Hinting commands Template commands

Glyph popup menu

Actions - transformation Add note Add anchor Add component Decompose Open font window

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Glyph properties window

Edit->Properties from Font table Name & Unicode # nodes, #contours, #components Metrics Standard Measured at red line Bounding box Classes

Contour Toolbox

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Contour toolbox
Also available from the menu

Contour toolbox
Interpolate Nodes

Flip glyph Horizontal Vertical

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Contour Toolbox
Envelope Move Node (Set) Simplify Segment (Curve)

Contour Toolbox
Contour direction Set PS direction Set TT direction Also available from menu

Click tool button Click each end of segment

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Contour Toolbox
Merge Contours Get Intersection Delete Intersection (in menu)

Masks & Templates in FontLab Studio 5

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Masks & Templates

what are they?

Masks & Templates

Tools -> Mask/ & Template

where are they?

Mask a layer of a glyph that can contain a contour that is not affected by editing the outline layer Template a global mask layer a layer in which a bitmap pattern can be imported

Bitmap layer or created

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Masks
Copy to Mask mask layer. copies the selected contour (or part) to the

Masks

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Masks
Paste Mask copies the mask layer into the outline layer. Note that it does not replace what was in the outline layer, nor is the mask removed.

Masks
Clear Mask removes all contours from the mask layer

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Masks
Exchange with Mask moves the outline layer to the mask layer and the mask layer to the outline layer. All contours are replaced.

Masks
Assign Font Mask makes one font a mask for another

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Masks
Editing the Mask Layer View->Show Layers->Edit mask

Exercise 1
Open the H glyph. Select the left half and put it on the mask layer. Exchange the mask and outline layers. Paste the mask layer into the outline layer. Clear the mask layer.

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Templates
Copy to Template copies the contour (or selected part) from the outline layer to the template layer.

Templates

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Templates
Copy Mask to Template copies the active glyph"s mask layer contents into the template layer.

Templates
Paste Template to Mask copies the contents of the template layer into the active glyph"s mask layer.

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Templates
Clear Template removes the contents of the template layer.

Exercise 2
Open the T glyph. Copy it to the template layer. Open the a glyph and copy it to the mask layer. Copy its mask layer to the template layer. Open the space character and copy the template to the mask layer. Then copy the mask layer to the outline layer. Clear the template layer.

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Background
Tools -> Background

The Background Layer

Create rasterizes the outline and puts the resulting bitmap into the bitmap layer.

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Background
Remove clears the bitmap layer

Background
Copy copies the bitmap to the clipboard Edit->Paste copies a bitmap from the clipboard to the background layer

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Background
Move and Scale allows you to move and adjust the size and shape of the bitmap.

Exercise 3
Open the Z glyph and create a bitmap background from it. Scale down the bitmap by about half and move it over to one side. Clear the background.

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VectorPaint
Bitmap paint tools

Painting in a vector mode

VectorPaint & sketch mode in FontLab Studio 5

Ted Harrison Fontlab Ltd. http://www.fontlab.com

Vector contours Stroke-based contours

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Tools - Lasso
Lasso select selects enclosed contour LMB straight line RMB close contour Edit Tool move selection

Tools - Pencil
Freehand line drawing

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Tools - Brush
Brush tips Brush options Strokes Widths Angle Caps Joins

Tools - Brush
Brush Options

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Exercise 1
Open a new glyph window and draw a swash R that looks something like this. The stem width should be 60 units. Draw a grave accent. Lasso it and drag it over the R.

Tools - Line
Straight lines

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Tools - Polygon
Draws polygons RMB to close Normal contour mode Brush trace mode

Tools - Text
Adds text to a glyph Edit tool moves text

Font choose from any installed TT font

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Tools - Color
Black White Empty the brush takes the foreground color Auto the brush takes the color where the stroke begins

Exercise 2
Create a new glyph design in a blank cell using the VectorPaint tools. Add text to make a logo glyph.

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Sketch Toolbar
Show outline creates a template layer copy of the contour. This copy remains unchanged while the contour is edited. Show marks New sketch Import sketch Replace outline the sketch Add to outline contour
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Sketch Mode

copies the contour to the sketch layer replaces the existing contour with adds the sketch to the existing

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Sketch tools
All the usual toolbox tools work in sketch mode. The main difference between sketch mode and normal outline mode is that the sketch is not WYSIWYG. I.e the character contour does not change as you edit it in the sketch layer. Only when you click Replace Outline or Add to Outline does the sketch get transferred to the real character contour layer.

Exercise 3
Open the B glyph. Go into sketch mode and put the glyph outline into the sketch layer. Make a copy on the template layer and then scale the glyph 90%. Use the edit tool to enlarge the upper bowl. Put the new contour back into the glyph window, replacing the old contour.

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Expand Strokes & Parallel Paths

Expand Strokes
Draw and or select a line segment Choose stroke width, Caps, Joins, And shape

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Parallel Paths
Draw and/or select a segment Choose relative position, Replace or add, Close contour?, And offset

Transformations in FontLab Studio 5

Ted Harrison Fontlab Ltd. http://www.fontlab.com
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Transformations

Glyph transform tools

Glyph edit transform tool Range transformation Transformation programs

Scale Skew Rotate

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Glyph transform - scale

Select segment or contour Click scale tool Position cursor Click and drag

Glyph transform - skew

Select segment or contour Click skew tool Position cursor Click and drag

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Glyph edit transform - rotate

Select segment or contour Click rotate tool Position cursor Click and drag

Glyph transform
Select segment or contour Click free transform tool Click on handles for scale, skew or rotate Drag to position

free transform

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Transform Panel
Window->Transform panel Enables digital precision transforms

Exercise 1
Open the S character Scale it down to about 90% Slant it left about 15 degrees Rotate it about 30 degrees

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Range Transformation
Tools -> Transform (Action)

Range Transformation

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Range Transformation
Select a range or character Select an action Click OK to apply

Exercise 2
Open a sample font Widen all the caps by 10%. Make all the lower case characters 20% bolder.

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Transformation Programs
Select a range or character (or leave blank to do the whole font) Tools -> Action set

Transformation Programs

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Transformation Programs
Setup Transformation program Choose range Retrieve or create an action set Edit the actions

Transformation Programs
The Preview Panel

Run the Action Set

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Exercise 3
Create a transformation program that makes the font 10% bolder, slanted by 6 degrees left, and applies a shadow.

!"#$%!& '#()%!* +#,)%(! " #$ %!&'(

!"#$%& '#()

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)*#+,-. /* +,#0
./01* 2-3* 4 "3*5%6%5,(%0!7 Making a PostScript language implementation of a typeface design involves two essential considerations: The character paths must accurately express the true analog shapes of the original design. Certain conventions must be observed to help the interpreter accurately scale for all sizes. Failure to observe either of these conventions can result in uneven stems, unwanted pixels, poor curve shapes, and poor transitions from straight to curved sections.

)*#+,-. /* +,#0
80%!(" ,( 9($*:*" An endpoint (first or last point of a lineto or curveto) should be placed at most horizontal or vertical extremes. This implies that most curves should not include more than 90 degrees of arc. The placement of extreme points aids the rendering algorithms in properly reproducing the major features of characters. Of course, points may be placed anywhere else on the character outline, as long as the important extremes are defined as well. It is not necessary to place an endpoint at extremes of very small curves such as the tips of curved serifs.

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)*#+,-. /* +,#0
2,!&*!( ;0!(%!#%(Whenever one path element should make a smooth transition to the next element (for example, straight line to curve, curve to straight line, or curve to curve) the endpoint joining the two elements and the B zier control points (the off-curve points) associated with that endpoint (for curves) or the other endpoint (for lines) should all be collinear. This is especially important at horizontal and vertical extremes, where slight deviations tend to be magnified by interaction with the pixel grid.

)*#+,-. /* +,#0
;0!5%"*!*"" Be as concise as possible, without breaking the other rules. This achieves minimum memory usage and maximum speed in the rendering system, and simplifies the task of adding hints. Use the fewest B zier curve segments that accurately represent a shape. Do not use consecutive collinear straight line segments. Do not draw straight lines by using collinear curveto definitions Whenever possible, use the closepath command to draw one of the straight line segments, rather than closing a character with a closepath that results in a zero-length line segment. In general, find the smallest sequence of commands that accurately describe the character shape.

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1&-# 2*!,#
!"#*+(,#- set of algorithms that analyses a glyph"s outline to find errors that may decrease glyph rasterization quality. To activate, press the ying-yang button on the Show Layers toolbar. To see a description of a possible error, click on the red arrow mark.

1&-# 2*!,#

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1&-# 2*!,#

)3#,",4.
Tools / Outline / ./#,0,12: FontLab tries to automatically adjust the outline to remove unnecessary elements and correct others. Remove unnecessary curve and line segments. Align imprecisely directed vertical and horizontal lines. Correct the connection types of lines and curves. 32##,"45: Preferences / Font Audit / Optimized Outline Simplification level: The bigger value, the more curves FontLab will try to remove. Auto-alignment level: The bigger value, the stronger FontLab will align curves.

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The Metrics Window

Window ->New Metrics Window

Metrics in FontLab Studio 5

Ted Harrison Fontlab Ltd. http://www.fontlab.com
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Interface
Mode Text Preview Metrics Kerning Size Options Tools String

Interface
Header bar Size String select Load text Open/close

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Metrics button bar

Open Metrics opens a metrics file from disk

Metrics button bar

Save metrics file to disk

saves a metrics

Quick Save saves a metrics file to RAM (not disk) Quick Open opens a metrics file from RAM

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Metrics button bar

Auto Metrics

Metrics button bar

Reset kerning Assistance Add pairs

kerning

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Metrics button bar

Right-toleft Flip glyphs

Metrics button bar

Measurement line Class kerning

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Metrics button bar

Expand panel Open Kerning Table Ruler

Metrics Modes

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Metrics Modes
Text

Metrics Modes
Preview

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Metrics Modes
Metrics

Metrics Modes
Kerning

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String Field
String selections Entering strings Type one in By name: /A.small/ By decimal code: /44 By Unicode: \0445 For slashes use double slashes: \\ // Select from dropdown list Cycle through list using spin buttons

Working with Strings

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String Field
Loading text strings List comes from preview.txt in data subdirectory of fontlab directory. ASCII editable. Make your own list(s) and use the OPEN button to load them. Second preview allows comparison
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Editing Metrics

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Editing Metrics
Select Metrics Mode Select or enter string Select character Adjust sidebearings Manually Drag sidebearing line Drag glyph Digitally Use spin buttons Enter numbers in spinbox or table
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Editing Metrics
Or just click the Auto button:

And select appropriate parameters:

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Editing Kerning
Select Kerning Mode Select or enter string Select character Adjust kerning Manually Drag kerning line Drag glyph Digitally Enter numbers in table

Editing Kerning

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Editing Kerning
Or just click the Auto button:

The Measurement Line

On/Off button in Metrics toolbar Useful for kerning italics

And select appropriate parameters:

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")#%*'+ ,! -)%,*,.
FontLab 4.6

Advanced Metrics an Class Kerning

! " #$ %!&'(
!"#$%& '#()

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")#%*'+ ,! -)%,*,.
FontLab Studio 5

/&,#0 1 2#3!*& 4
New: Text Mode! that allows live multiline text editing

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/&,#0 1 2#3!*& 4
New: Permanent Metrics/Kerning table (Metrics mode)

/&,#0 1 2#3!*& 4
New: Permanent Metrics/Kerning table (Kerning mode)

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5678( 96 ++)+ *, /&,#0 1

Glyph class A named group of glyphs associated together Used for advanced metrics editing, class kerning and for OpenType Layout features FontLab classes! and OpenType classes! FontLab classes Editable in the Collection/Classes panel & in Kerning Assistance Usable in Metrics Window, Classes panel, other UI elements OpenType classes Editable in the OpenType panel or an external .FEA OpenType feature definition file Only usable within the OpenType panel, optional

5678( 96 ++)+ *, /&,#0 1

FontLab classes vs. OpenType classes

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5678( 96 ++)+ *, /&,#0 1

Converting OpenType classes FontLab classes automatic, upon opening an OpenType font (4.6) manual, Import FontLab classes! in OpenType panel (5.0) Converting FontLab classes OpenType classes automatic, upon compiling features or generating an OpenType font, if option enabled in Preferences (4.6): manual, Import features from binary tables! (5.0) Most users only need to deal with FontLab classes! A font creator may use OpenType classes when he/she wants to create a complete .FEA feature definition file " all in one file. Otherwise, always use FontLab classes.
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96 ++ :)%,*,.
FontLab kerning classes special FontLab classes used for class kerning name must start with underscore (e.g. _A!) one glyph in the class must be a key glyph!: its glyph name in class definition is followed by quotesingle (')

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96 ++ -)%,*,.
1. 2. 3.

96 ++ :)%,*,.
1. Create kerning classes by dragging glyph groups into classes panel or writing class definition file.

Create *+,"-". /$%00+0 Define the *+,"-". 0/!1+ of each kerning class Define *+,"-". 1%-,0 for individual glyphs (for classes, only key glyphs need to be kerned) Use 2+,"-". 300-0#%"/+ to copy kerning values from pairs with key glyphs to pairs with dependant glyphs 56/+1#-!"0 are made by kerning dependant glyphs explicitly

4.

4)

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96 ++ :)%,*,.
2. Define the kerning scope of each class using Kerning Assistance (Save changes): 1st glyph class, 2nd glyph class, both-side class 3. Define kerning pairs for individual glyphs. For glyphs in classes, you only need to define kerning pairs with key glyphs.

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/&,#0 1 2#3!*& 4
New: Live class kerning

96 ++ :)%,*,.
4. Use Kerning Assistance to apply changes: Apply and Save build OpenType kern! feature with class kerning, for OpenType PS and OpenType TT fonts Expand Kerning physically copy kerning values to dependant glyphs, for Type 1 and TrueType fonts to be used in non-OpenType applications

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/&,#0 1 2#3!*& 4
Improved: Expanding class kerning into plain kerning

/&,#0 1 2#3!*& 4
Improved: Expanding class kerning into plain kerning

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/&,#0 1 2#3!*& 4
New: Compressing kerning into class kerning

/&,#0 1 2#3!*& 4
New: Metrics window options

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)&*#+ , -.##/*0Font Settings Font-centric. Affect a given font regardless of which user and machine it is edited on. They travel! with the .VFB font file. Control font naming and identification, metrics and dimensions, glyph naming and encoding, screen display settings, other font format-dependant settings. Application Settings User-centric. Affect all fonts edited by the current user on the current machine. Do not travel! with the .VFB font file. Control FontLab"s behavior, opening and saving, user interface elements, keyboard shortcuts etc. Also control certain aspects of font naming, encoding, screen display settings etc. of fonts that are being generated.
5

Mysteries of the Font Heade

! " #$ %!&'(
Fontlab Ltd.

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)&*#+ , 1.##/*0-2 3''.--/*0

Font Settings Font Info (!Info"): File | Font Info..., May override format-specific application settings Application Settings Preferences (!Pref"): FontLab | Preferences (Mac) or Tools | Options (Win) Customize: Tools | Customize... File Dialogs: File | Open... | Options... or File | Generate Font... | Options..., Temporarily override Preferences

)&*#+ , 1.##/*0-2 3445/' #/&* 1.##/*0User interface Font Window, Glyph Window, colors, fonts, smoothing, keyboard shortcuts, toolbar and menu items*, UI icons*... Behavior of certain functions Optimize, FontAudit, Trace, T1/TT Autohinting, copy-paste, tracking, snapping, selecting, node moving... Importing (opening) and exporting (generating) fonts Decompose composites on import, autohint unhinted glyphs, re-encode glyphs... Read/export: original hinting, complete name! table, OpenType Layout tables, embedded bitmaps... * only available in FontLab for Windows
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1.##/*0- 6 )&%" #-2 7." %8Unicode compatibility:

yes: Win TrueType / OpenType TT, OpenType PS, FontLab VFB, Mac TrueType, no: Mac / PC Type 1, Mac / PC MultipleMaster

9.: 3445/' #/&* 1.##/*0Preferences | Type 1 Type 1 import: leave default settings Type 1 export Disable Use WinAscent and WinDescent... Encoding options: Select encoding automatically (more discussion when we will speak of font formats) Preferences | TrueType TrueType import For round-tripping, enable Store custom TrueType tables TrueType export Disable Autohint unhinted glyphs Note: Type 1 settings apply to Mac & Win. TrueType! settings apply to Mac TrueType, Win TrueType and OpenType TT (.ttf).
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Terminology:
The terms OpenType TT and Win TrueType are interchangeable OpenType PS (CFF) is often misnamed as just OpenType!

Settings:
OpenType settings apply both to Win TrueType / OpenType TT and to OpenType PS fonts TrueType settings apply to Win TrueType / OpenType TT and to Mac TrueType fonts Type 1 settings apply to Mac Type 1 and Win Type 1 fonts

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9.: 3445/' #/&* 1.##/*0Preferences | OpenType OpenType import Disable Interpret mort! table. Set Read all OpenType name records... OpenType export Set Append OpenType name records for Roman fonts or in development mode. For shipping, set Export only OpenType name records and verify all naming in detail. Enable Use OpenType names as menu names on Macintosh. Enable Add all glyph classes to OpenType feature definition... Note: Settings apply to Win TrueType, OpenType TT (.ttf) and OpenType PS (.otf) fonts. Naming settings also apply to Mac TrueType.
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)&*#+ , 1.##/*0-2 )&*# 1.##/*0Font names and identification Font names, design credits, vendor information, copyrights and licenses, version numbers, creation date Metrics and dimensions UPM, ascenders / descenders, superscript / subscript Glyph naming and encoding Glyph names, Unicode values, codepages Screen display settings PostScript and TrueType hinting, auto-aliasing Other settings Settings specific to given font format
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;&*# * ".- *! /!.*#/;/' #/&*

Info | Names and Copyright Names of font family and style Font family relations Typographic parameters (width, weight, inclination) Design credits, copyrights, trademark information Licensing information and embedding rights Info | Version and Identification Version information Typeface classification parameters

)&*# ) "/5: < "/*02 =%/.; >-? +&*0

Brief! families on Windows (no more than 4 styles) Long! families on MacOS and in Adobe applications

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)&*# ) "/5: < "/*02 =%/.; >-? +&*0

Brief! families on Windows (no more than four styles) Long! families on MacOS and in Adobe applications

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Improved Fonts panel in FontLab Studio 5 displays both types of naming Brief family naming FontLab 4.6 Long family naming ( OT!) Alt. view in FL Studio 5

To switch the views: Solution: give each family two sorts of family naming: brief family naming! and long family naming!.
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)&*# ) "/5: < "/*02 =%/.; >-? +&*0

Brief family naming

B.>/-/*0 < "/*02 1#.4 C

Start by giving an identical Family Name (here: LabFont Pro) to all styles in your family. Select a Weight and a Width that best matches the true design of each style. For light fonts, avoid the Thin!, UltraLight! and ExtraLight! settings and choose Light! instead. If your style is italic or oblique, check the Font is italic! mark, but leave Font is bold! unchecked at this stage.

Long family naming

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B.>/-/*0 < "/*02 1#.4 D

Click on the Build Style Name ! button to automatically build a style name. Abbreviate excessively long style names (e.g. replace Condensed! with Cond!). The style name must be unique within the family, so if FontLab builds the same style name for two different fonts, revise one of them. Click on the Build Names! button to automatically build the remaining names. Click on the Verify names! button (new in FL Studio 5!)
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B.>/-/*0 < "/*02 1#.4 E

Switch between styles and repeat the previous steps analogically for all styles in your family. Go to the OpenType-specific font names! page and click on Build OpenType Names!. Repeat for all styles in the family.

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B.>/-/*0 < "/*02 1#.4 F

Go back to the Basic set of font names! page and apply the brief family naming: Enter the brief family name into the Family Name field and into the Menu Name field. Enable Font is bold! whenever a font is supposed to be bold style! within the brief family. Revise the Style Name! field so it only contains one of the following: Regular!, Italic!, Bold! or Bold Italic!. Leave other settings unchanged.

;&*# * ".- *! /!.*#/;/' #/&*

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;&*# * ".- *! /!.*#/;/' #/&*

;&*# * ".- *! /!.*#/;/' #/&*

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;&*# * ".- *! /!.*#/;/' #/&*

;&*# * ".- *! /!.*#/;/' #/&*

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".#%/'- *! !/".*-/&*-

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05:4( * "/*0 *! .*'&!/*0

05:4( * "/*0 *! .*'&!/*0

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-'%..* !/-45 : -.##/*0Format-specific hinting settings: Pref | Type 1 Pref | TrueType Info | Hinting Settings Info | TrueType-specific settings | Font smoothing Tool: TrueType Hinting | Stems Options

G4#/"/H/*0 1'%..* 1.##/*0Finalizing a PostScript design (Type 1 or OpenType PS/CFF) Tools / Transform Range / range: All characters in the font Add actions: Contour / Decompose Contour / Reverse all / Set counterclockwise (Type 1) direction Hints and Guidelines / Remove hints/guides Hints and Guidelines / Autohint Hints and Guidelines / Autoreplace Run the program Font Info Hinting Settings / Auto zones Standard stems (T1 hinting) / Auto stems

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G4#/"/H/*0 1'%..* 1.##/*0Finalizing a TrueType design (OpenType TT) Complete steps on previous page Font Info Metrics and Dimensions: Change UPM if required or leave 1000, enable Scale all glyphs according to UPM change! TrueType-specific settings / Font smoothing / Auto! (green) Tools / Transform Range / range: All characters in the font Add actions: Contour / Convert to TrueType Contour / Reverse all / Set clockwise (TrueType) direction Hints and Guidelines / Convert to instructions Run the program
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)* +,#(&- ./0%/10$
Python is an open source object-oriented programming language

Python Scripting in FontLab

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Python is cross-platform, one code can be executed on Mac, Windows, Unix etc. It is easy to learn, very flexible and extremely powerful Why write code? simplify batch processing cut down on repetitive tasks FontLab has extensive Python implementation

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))* 2&%0 %0 3&-3 #& 430 +,#(&First version of Python was written by Guido van Rossum. Guido van Rossum is the older brother of Just van Rossum, who is type designer (Letterror) and ATypI member. Many years ago, Just van Rossum, Erik van Blokland and Petr van Blokland wrote RoboFog a scriptable version of Fontographer 3.5. It was written in Python. A few years ago, Just van Rossum wrote TTX, a package that allows you to convert TrueType and OpenType fonts to XML and back. In Python, of course. This year, Just van Rossum, Erik van Blokland and Tal Leming wrote RoboFab an extension package that uses FontLab. Again, RoboFab was written in Python. Large parts of the Adobe SDK for OpenType (ASDKO, f.k.a. Adobe OTFDK) are written in Python.
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Python 2.3 .x must be installed on your system For Mac: !!"#$$ %&'"()'*+,-.+/0$12(,3$&(,"4! %/$ Download and install MacPython-OS9 even if you!re on OS X! After installation, click on "Configure Python# For Windows: !!"#$$---+"4! %/+%5)$

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Macro Edit Panel Output Panel Fonts Panel Context Menus

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Python programs are text files, usually with extension .py Python is case-sensitive Literals: String: 67'00% 894":6 or ;7'00% 894":; Integer value: << Floating value: =+>? List: @>A BA ;(;A ;C;D Comment: EF')./ ,(0,G0(!.%/* Statement: "5./!

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9)* =&-#%&> 5>&$

Condition: .L ... '0*' statement Iteration: L%5 statement L%5 ) ./ L0+L%/!+)04" *# "5./! )+/(&' "5./! )+./M'H L%5 ). ./ 5(/)'N0'/NL0+L%/!+)04" *OO# ) I L0+L%/!+)04" *@).D "5./! )+/(&' "5./! )+./M'H

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FontLab s objects (fonts, glyphs, nodes) represented as Python objects FontLab objects overview

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9)))* =&-'>431&Go through the macros that come with FontLab and read over them to see how they work. The Python website has some great tutorials for learning basic Python: http://www.python.org The documentation of the FontLab/Python API is available at: http://dev.fontlab.net/flpydoc/ There is a mailing list dedicated to Python in FontLab: http://mail.letterror.com/mailman/listinfo/fontlab-scripting Almost any introductory book on Python will be helpful Write macros in an external editor (UltraEdit, BBEdit)
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Blending & Multiple Masters in FontLab Studio 5

Ted Harrison Fontlab Ltd. http://www.fontlab.com

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Blending
Takes two fonts and creates an intermediate version.

Blending
Open two fonts Tools -> Blend Fonts

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Blending
Specify fonts Blend vs. Build MM Destination Glyphs Blend amount Uniform? Interpolate

Blending
Building a single-axis Multiple Master font

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Multiple Masters Theory

Masters the designer creates Master fonts to define the extremes of the design. A single-axis font requires two masters. A two-axis font requires four Masters. A three-axis font needs 8 Masters and a four axis font (the limit of current technology) needs 16 Masters. Axes FontLab interpolates between the Masters to produce all the intermediate designs (instances). It can also extrapolate beyond the Masters to produce extraneous designs.

Multiple Master Fonts

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Multiple Masters Theory

Standard Axes Weight Width Optical size Style (could be Serif or some other style attribute)

Multiple Masters Technique

1. Select/create Master 2. Define Axes 3. Create subsequent Masters

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Multiple Masters Technique

Open the selected Master font Define an axis Name Short name Axis type Hints to links

Multiple Masters Technique

Create a second Master Select an active Master Edit Transform Blend Assign Mask to Master

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Multiple Masters Technique

Assign a second Master

Multiple Masters Technique

Mask to Master Assign mask Tools->Mask&Template->Assign Font mask Mask to Master Tools->MM->Mask to Master

Tools->MultipleMaster->Assign Master

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Multiple Masters Technique

The Axis Panel Window->Axis Panel The Preview Panel Window->Preview Panel

Multiple Masters Technique

MM Metrics Open Metrics window Select Master to work on Edit metrics as in regular font Save metrics in MMM or AFM files

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Multiple Masters Technique

Working with Axes Axis settings Tools->MM->Modify Axis Names

Multiple Masters Technique

Editing the Axis Graph Tools->MM->Edit axis Graph Choose axis Position ends of dynamic range RMB+LMB(<cmd><opt>) on the line to add a point Drag point to new position

Removing an axis Tools->MM->Remove Axis

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Multiple Masters Technique

Anisotropic Interpolation

Multiple Masters Technique

Hinting MM fonts You could hint each master separately. But it"s easier to use links instead. Links are not dependent on the number of masters. On export links will automatically be converted to hints for each master.

Button in Axis panel Choose axis Position ends of dynamic range RMB+LMB(<cmd><opt>) on the line to add a point Drag point to new position

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Multiple Masters Technique

Generating a MM font File->Generate font Select MM format

Multiple Masters Technique

Generating Instances Tools->MM->Generate Instance Select from known instances, or Choose a design position for a new instance. OK-> creates new font and opens it in a window in FontLab

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