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Kent Lew


Kent Lew
Last Active
Member, Type Person
Invited by
Admin James Puckett
  • Re: Strange printer spacing results

    Simon — Unfortunately, I don’t think jpg’d photos are enough for any of us to be able to definitively diagnose such problems. Plus, you’ve got a lot of variables; I think PDF may be adding another layer of potential complexity.

    Ain’t font technology fun?! ;-)
  • Re: Is the term ‘foundry’ a proper name for digital companies?

    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.
  • Re: How do you inspect a UFO file?

    You keep kerning and compiling until you get the dreaded “kern overflow” warning and then you go back one step and stop. ;-)

    Seriously, though, if one is working on a large glyph repertoire that requires a lot of kerning, then one either becomes educated on the technical details of GPOS kerning and adopts strategies/priorities accordingly, or one engages an experienced font technician to help resolve issues with large kerning sets that are not compiling.

    In terms of the former, unfortunately, it’s not easy to boil it all down to a forum post.

    But you’re in NYC, right? — if I make it down to Typographics in June and you can find me, buy me a beer (or two) and I can try to share some of what I’ve learned. ;-)
  • Re: Small caps as a variable font axis in Glyphs?

    What I am imagining is a GX file that can take information from my existing four masters, along with some metadata about my desired scale and maybe vertical interpolation, and be able to render smallcaps without adding masters

    I have been thinking for some time that this sort of facility would have been a smart addition to the OT Font Variations specification: Basically the ability to point a GSUB rule to a position within the interpolation matrix rather than just a separate glyph outline. For things like small caps and superiors/inferiors, as Jeremy and Adam point out.

    Perhaps in version 2.0.

  • Re: "Expert" fonts

    Michel is not wrong about the consideration for moving kerning data. But a script can deal with renaming in groups and kerning data pretty readily, if one just accounts for it.

    Still, if the objective is to work in Word (and only in one’s own closed environment), then the {scmp} → {ssXX} hack actually seems like a pretty efficient & effective one.

    But if one is intent on hacking a font to display small caps by default in place of lowercase — i.e., like an “expert” font of old — then it might be more efficient to just remap the <cmap> so that lowercase codepoints direct to small-cap glyphs. That way, kerning is not an issue (since it relies upon glyph names, which have not been changed).

    Depending upon how a font has its glyphs named, I can imagine this could be mostly a straightforward GREP operation on a TTX dump or otherwise scripted through FontTools. Although I suspect it gets a little more complicated if you have to deal agnostically with a range of fonts.