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mauro sacchetto

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mauro sacchetto
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  • Ahhh ok! But what is the ratio of this choise? Other fonts have a different bearing for default (tabular) and .fitted figures. Isn't perhaps a more logical strategy?
  • ok, I'll proceed this way. Thank you
  • ...Or have I to call it Aringbelow.a ? Can you indicate me an up-to-date (possibly free) font that I can analyze?
  • Maybe I wasn't clear enough: Adobe formerly chose to encode all alternates in new OpenType fonts, in the PUA. I think they stopped doing this about a decade ago. Very few other people do it these days. Certainly it is I who have not completely un…
  • Is the following correct then? - 65 Latin Capital Letter A (u0041) - 97 Latin Small Letter A (u0061) - 63329 a.sc (Private Area, uF761) - 66399 A.a Latin Capital Letter A (Private Area, u0041, as the first line), that is the same glyph of a.sc …
  • In practice: the distinction between glyphs .sc (smcp) and glyphs .a (.c2sc) serves to distinguish those mapped from uppercase letters and those mapped from lowercase letters. Can I place these glyphs anywhere, except in slots that have a Unicode …
  • For example, I see Garamond Premiere Pro putting from 63329 to 63354 the small caps alphabet and read: Unicede Value U+... Corporate Use. Moreover: up to the slot 62718 I read: Private Use Area. From 62729 Corporate Use. I don't know, I'm asking...
  • OK thank you for your explanation. Now it remains to me to understand why substitution between uppercase and lowercase fails. In any case it doesn't depend from lookups, but from substitution tables. I've to see better inside them A last dummy ques…
  • This means that they need to duplicate smallcap glyphs to distinguish those mapped from uppercase letters and those mapped from lowercase letters But in any case from a graphical point if view is the glyph the same, right? A part from a few alterna…
  • Version 2.0 rev. 2 (2007). A lot of Adobe fonts from Font Folio 11 have .sc, .a and .alt glyphs....
  • Oh, now can I answer by myself. It's not a problem of the font, but depends if the Latex code use or not package. Sorry, question not relevant here....
  • PS A last question, You write: The subscript top zone is in OtherBlues in your screenshot, but it should be in BlueValues as it is a top zone.  Do BlueValues ​​contain positive values ​​or top zones? For inferior, in fact, even the top zones have a…
  • I followed your advices rearranging the glyphs, redoing the hinting, reducing the number of StdHW and StdVW values ​​and replacing subscripts "higher". It seems to me that the problem has been solved. The only thing on which I am perplexed (but as …
  • The zone (-38, -21) would be the superior area for subscripts, and (682, 690) the superior area for superscript. In BlueValues there are: baseline (-18 ,0), x (416, 436), smallcaps (467, 483), C (693, 711), ascender (750, 750). In OtherBlues in orde…
  • I reviewed all the values and tried more solutions to improve superscript and subscript rendering. I think I understood the general logic, even if sometimes I proceed by trial and error and spent a few hours finding the solution. However in both ca…
  • I see. My trouble is with some super- sub-script glyphs, which are not correctly aligned in their baseline...
  • Ok, life is nice even with BlueFuzz = 0     now I try to change the parameters to comply with rules and restrictions. Let's see what comes out ...
  • But if are the glypghs placed in contiguous areas? In fact it is normal that superscript numbers are close to uppercase or ascending ... In this case, which strategy should I use? Only a very large area?
  • I've not a Mac, so I can't test directly on it. «If you make the Win and Typo values different from each other, it can cause some differences between web browsers» : so, do you suggest it's more convenient to set them to the same size? Actually, I'v…
  • Yes, I saw the can have or not the same values, as I said in my first post. But which are the advantages and disadvantages of the two strategies?
  • Yes, I see... Now I'trying to make all metrics the same in all family fonts.
  • Reading! The text says: And in order to avoid vertical jumping between different fonts of your family, it is a good idea to synchronise all values across all masters. If have I to syncronise the values in the various fields, is it all another matt…
  • Yes, I found this, and in fact I reset the values ​​"by hand". But my thread was about something else, that is about the values ​​to pass to the OS / 2 metric, as I wrote in the first post ...
  • Yes, I realized that many automatic functions do not give impeccable results (one for all: the StemSnap, which most often produces a very bad rendering). In any case, my question is rather about the role of metric parameters passed to OS / 2. Do t…
  • Of course, we know that the geometry of a form and its perception are different things. I think Thomas's suggestion is excellent
  • But, speaking immediately, do you find these measures proportionate? There are "failures" that I do not find in other Garamond (Adobe's Premiere or EB Garamond ...) I find certain irregularities strange: the baseline of is more or less the same, wh…
  • Therefore, from an aesthetic point of view, is this situation still acceptable? Note that the Bold is the lowest and that the differences are really relevant in cases like the , the and the Italic. The graces of letters like or are…
  • 699 a bug respect 700? But the most relevant difference concerns the lowercase (and small caps), so that a certain difference is visible even with a size of 12 pt. If even the aesthetic principle is right that every family member has his own cha…
  • There is a large debate about Linux rendering and its tools. From a practical point of view, I see all very well on Linux, without all the troubles od Windows rendering
  • ok, very clear and definitive answer. Thank you