I doubt the trigger is in the name table. I suspect this behavior has to do with the OS/2 UnicodeRanges. I think that when certain ranges having to do with non-Latin/non-Western scripts are checked, that’s when Adobe apps place fonts in these segregated areas of the menu. I can’t swear to it, and I couldn’t tell you exactly which ones.
But check in FontInfo > Encoding and Unicode > Unicode ranges and see if there are any oddballs checked, like “CJK Compatibility Forms” or something like that.
Also, when you’re testing installation, you will probably want to clear your font cache each time, just to make sure Adobe re-evaluates completely.
Even though some people say PS hinting is essentially dead, I find that even very reputable, true Adobe PS3, hi-res laser printers give variable results with spacing like this at text sizes depending upon hinting settings. It can be very unnerving and frustrating.
Make sure that you’ve set at least two good values for StemSnapV — one for lowercase straight stem and one for uppercase straight stem.
Also, Erwin’s suggestion is a good one, for frame of reference. No hinting is sometimes better than bad hinting. Spacing may tend to be more reliable, but you may find stems varying.
Well, any foundry-metal type cast at text sizes would almost certainly have been put up in fonts with more like 40–50a in quantity, not 20 (which would have been way too limiting).
But your point is still well taken. Depending upon how many pages on a form, and to what extent a shop needed to hold the galleys or could produce electros and redistribute for re-use, etc., a single font would likely not be enough for serious use.
It was a whole different market dynamic when type was a physical product that wore out.
Still, sets of hot-metal matrices were sold as “fonts” as well, and did not have the same limitations.
The use of the term “foundry” may have waxed and waned, but “font” has been pretty consistently used to describe the basic practical, usable, and transactional form of a typeface, even as that form has evolved.
That was tongue-in-cheek. If one is experienced, it is not necessary to keep compiling to check. As you gain experience, you learn how to construct judicious classes and what to kern (and what not to bother with).
I would say that beginner mistakes are usually the result of either not getting the character fitting well in hand before kerning, having too-liberal kerning classes, or attempting to kern everything with everything else.
It’s not always wise to try to generalize about such things, but I will say, just for a frame of reference, that in my experience a regular-weight serif text font with Extended Latin language coverage, with small caps and two sets of figures, competently fitted and reasonably kerned will average somewhere on the order of 3500–4000 kern pairs.
Others may have a different experience.
Don’t take such numbers too literally. That’s mostly just a check on order of magnitude. Less doesn’t necessarily mean a font isn’t kerned well. A bit more than that doesn’t necessarily mean there’s anything wrong either.
Although f-stop can be correctly indicated with just an italic f, the fact of the matter is that very frequently in the digital age the florin/hooked-f ƒ is now used. Pretty much ever since the Mac keyboard made it convenient with option-f, I think.