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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.


Paul van der Laan
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Member, Type Person
  • Re: Extracting FEA from a opentype font

    Why do you need to extract this data from the binaries if Adobe has made all the source files for this font available?

    Mark’s comment has nothing to do with copyright infringement. If you extract data from a generated font binary you won't always get the original source code. Some things, such as OpenType features, need to be disassembled.
  • Re: Best resources to learn Python in regards to font design?

    First decision is which version of Python to learn: version 2 or 3. Most font editors and tools that I know still rely on Python 2.7. Therefore it probably makes most sense to focus on that first.

    I can recommend to learn the basics of Python from the official tutorial. Just learn the basic principles of the language (loops, tests, functions) and common objects such as numbers, strings, lists and dictionaries.

    Then get to grips with RoboFab, which is a Python library included in many font software for dealing with fonts as Python objects. This RoboFab tutorial is a bit old, but still relevant for most parts.

    Hope this helps.
  • Re: One thing I don't like in vfb2UFO

    Oh, there are plenty more bugs in vfb2ufo that are pretty annoying:
    • Certain guidelines that automatically get renamed to “</guide>” and as a result will break the UFO;
    • Anchors that get removed when put in glyphs with components;
    • PS ghost hints that get reversed.

  • Re: Glyph names for new fonts

    There is another big difference between AGL and AGLNF: certain names in AGL map to the same unicode value. Whereas in AGLNF each name maps to a unique unicode value only.

    The AGL was compiled by Adobe to have a scheme for automatically assigning unicode values to glyph names in a time when they were converting their (huge) library of legacy PostScript fonts to OpenType format. These PS fonts did not contain any unicode mapping at all, and could have different naming schemes.

    The AGLFN was subsequently compiled to have one preferred way of naming glyphs in new fonts. According to this scheme every glyph that has a unicode value and is not listed in the AGLFN should have a uniXXXX name.

    The AGLFN is used by many font editors as the default naming scheme. Since it deals mainly with the Latin script, it means that these glyphs have relatively user-friendly names (such as "Adieresis") whereas the majority of non-Latin glyphs are stuck with generic uniXXXX names.

    That is why certain font editors offer two naming schemes now: "friendly names" versus "production names". Earlier this year a number of people contributed to a new initiative to make an open standard for friendly names. It was presented as "gnufl" at Typo Labs in Berlin. More details here:
  • 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.