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Paul van der Laan

Dat zijn rare foutmeldingen. Probeer inderdaad eerst de andere packages opnieuw te installeren. Als dat niet helpt kan ik je mijn kopie van RF sturen, die werkt prima onder FontLab 5.1.4 (4868) en Yosemite.

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Paul van der Laan
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  • Re: glyf (i.e. contour) analysis reports on libre fonts.

    A tool to add extreme points can be helpful but it should be optional. The OT spec does not dictate that outlines must have extreme points.

    Remove overlap is indeed helpful but should also be optional, in case you want to generate a variable font where they are needed to make interpolations possible.
  • Re: glyf (i.e. contour) analysis reports on libre fonts.

    Depends on the meaning of Fixing I guess.  There is nothing flawed in a design that doesn't have control points at extremities, and has overlapping paths.  Letting the computer do that work frees the designer from work, and gives him more freedom.
    Depend on the meaning of Freedom I guess. To me that means that my tools do not get in my way, and that I will have full control over the result.

    If you’ve ever designed an italic you might have had to draw tiny shapes that can be defined much better without extreme points. Any attempt to add those kinds of points will actually lead to a worse result.
  • Re: glyf (i.e. contour) analysis reports on libre fonts.

    @Kristof Bastiaensen: the last thing I need is a font editor that automatically "fixes" things because of some spec. A validator that creates an analysis report is of much greater value.

    Truth is that there are many different rasterizers and font shaping engines out there that do not follow the latest specs, and sometimes we have to make fonts that need to work for those environments.

    Point in case: the very latest OT spec that includes variable fonts *does* allow overlapping contours.
  • Re: Font Licensing: The Type Unite initiative

    Please realise that the foundry logos in question are copyrighted works too.

    For an initiative that aims to “do the right thing”, to place the Bold Monday logo on a webpage without our permission undermines the credibility of it all.
  • Re: Kerning for beginners

    I think that are way to many kerning pairs for such a font. If you have more that 1000 there is something wrong with your spacing.
    I think Diana meant a 256 character set from the good old days of Type 1 PostScript fonts, where class kerning was not possible. In those fonts you had to kern each glyph individually (in editors like Fontographer, or Robofog, or FontStudio). It was very common to end up with a kerning table with more than 3,000 pairs if you took care of all accented glyphs too.

    If I look at the original Macintosh Type 1 version of FF Thesis for example, then TheSans Plain (224 glyphs) has more than 3,400 kerning pairs. For those days (early 1990s) that level of detailing was quite unprecedented, but also demonstrated what could be done with digital type.

    While I agree that the goal should be to make as little kerning pairs as possible, I do think it is very helpful to start kerning the basic combinations, and go through all of them manually. It takes a while, but you will gain a lot of insight. With every new typeface after that you will recognise easier which combinations might need kerning, or (even better!) which shapes can be drawn differently to avoid kerning.