Opentype Installation Basics for Context
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Introducing Opentype Ab
UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger. -
Opentype Postscript Fonts with Unusual Units-Per-Em Values
Luigi Scarso VOORJAAR 2010 73 OpenType PostScript fonts with unusual units-per-em values Abstract Symbola is an example of OpenType font with TrueType OpenType fonts with Postscript outline are usually defined outlines which has been designed to match the style of in a dimensionless workspace of 1000×1000 units per em Computer Modern font. (upm). Adobe Reader exhibits a strange behaviour with pdf documents that embed an OpenType PostScript font with A brief note about bitmap fonts: among others, Adobe unusual upm: this paper describes a solution implemented has published a “Glyph Bitmap Distribution Format by LuaTEX that resolves this problem. (BDF)” [2] and with fontforge it’s easy to convert a bdf font into an opentype one without outlines. A fairly Keywords complete bdf font is http://unifoundry.com/unifont-5.1 LuaTeX, ConTeXt Mark IV, OpenType, FontMatrix. .20080820.bdf.gz: this Vle can be converted to an Open- type format unifontmedium.otf with fontforge and it Introduction can inspected with showttf, a C program from [3]. Here is an example of glyph U+26A5 MALE AND FEMALE Opentype is a font format that encompasses three kinds SIGN: of widely used fonts: 1. outline fonts with cubic Bézier curves, sometimes Glyph 9887 ( uni26A5) starts at 492 length=17 referred to CFF fonts or PostScript fonts; height=12 width=8 sbX=4 sbY=10 advance=16 2. outline fonts with quadratic Bézier curve, sometimes Bit aligned referred to TrueType fonts; .....*** 3. bitmap fonts. ......** .....*.* Nowadays in digital typography an outline font is almost ..***... the only choice and no longer there is a relevant diUer- .*...*. -
The Selnolig Package: Selective Suppression of Typographic Ligatures*
The selnolig package: Selective suppression of typographic ligatures* Mico Loretan† 2015/10/26 Abstract The selnolig package suppresses typographic ligatures selectively, i.e., based on predefined search patterns. The search patterns focus on ligatures deemed inappropriate because they span morpheme boundaries. For example, the word shelfful, which is mentioned in the TEXbook as a word for which the ff ligature might be inappropriate, is automatically typeset as shelfful rather than as shelfful. For English and German language documents, the selnolig package provides extensive rules for the selective suppression of so-called “common” ligatures. These comprise the ff, fi, fl, ffi, and ffl ligatures as well as the ft and fft ligatures. Other f-ligatures, such as fb, fh, fj and fk, are suppressed globally, while making exceptions for names and words of non-English/German origin, such as Kafka and fjord. For English language documents, the package further provides ligature suppression rules for a number of so-called “discretionary” or “rare” ligatures, such as ct, st, and sp. The selnolig package requires use of the LuaLATEX format provided by a recent TEX distribution, e.g., TEXLive 2013 and MiKTEX 2.9. Contents 1 Introduction ........................................... 1 2 I’m in a hurry! How do I start using this package? . 3 2.1 How do I load the selnolig package? . 3 2.2 Any hints on how to get started with LuaLATEX?...................... 4 2.3 Anything else I need to do or know? . 5 3 The selnolig package’s approach to breaking up ligatures . 6 3.1 Free, derivational, and inflectional morphemes . -
Using Opentype Features in Libreofiie
Using OpenType Features in LibreOfiie David J. Perry Ver. 1.2 updated August 4, 2017 Note: Part I provides background for those who have litle or no experience using OpenType. If you are already familiar with OpenType features and just want to learn how to access the in Libre# O$ce% you can go directly to Part II. tou might also need to read Part Ii if you have worked with OT features through a graphical interface rather than by using four-character codes. N.B.: names o keys on the key#oard are s"o$n in smal% capitals (enter, tab, etc.(. I. About OpenType A. Introduction )penType (ab#reviated O* herea+er( is a font te&"no%ogy t"at enab%es t"e appearance o &"aracters to be c"anged without altering the under%ying te,t. W"y wou%d one want su&" a thing? /n some languages, c"aracters may need to be res"aped depending on conte,t. In Arabi&, for instance, le0ers have diferent s"apes depending on w"ether t"ey come at the beginning o a $ord, in t"e midd%e, or at the end. Te user types a le0er and t"e appropriate s"ape is dis3 p%ayed. In languages li!e Arabi&, the operating system automati&al%y app%ies the needed O* eatures wit"out intervention by the user. Windo$s and Linu, use O* to support su&" com3 p%e, s&ripts (5ac O6 X uses a diferent te&"no%ogy for this(. /n languages t"at do not re8uire res"aping, O* provides ac&ess to many re9nements tradition3 al%y used in hig"38ua%ity typograp"y. -
IBM Printers and Print Software Now Support Truetype/Opentype Fonts and Unicode Print Data
Software Announcement October 28, 2003 IBM printers and print software now support TrueType/OpenType Fonts and Unicode print data Overview IBM now offers support for TrueType/OpenType fonts in printer hardware, print server software on various platforms, and new font offerings. The TrueType font technology, developed by Apple and Microsoft , is the most prevalent font technology in the industry today. It is an open font standard that is widely published. The OpenType font format is an extension of the TrueType format that allows better support for international character sets, and broader multi-platform support. OpenType includes information needed to fully support Unicode data for multilingual print and presentation using a single font. It also provides the flexibility of allowing either TrueType outlines or the other standard font technology, Adobe Type 1, to be packaged as an OpenType font. These new offerings provide significant benefits: • You will have more choices in selecting typefaces, especially for non-Latin languages • They provide a truly multilingual environment through support of Unicode, enabling the globalization of applications • You can print from Windows applications with the same fonts that appear on the screen Planned availability dates • Already available − IBM Infoprint 4000 High-Speed Printer Models IS1, IS2, ID2, ID4, ID6, IR2, and IR4 − IBM Infoprint 4100 High-Speed Printer Models HS1, PS1, HD2, PD4, HD4, and HS2. • December 12, 2003 − IBM Print Services Facility for z/OS V3R4 − IBM Infoprint Fonts for Multiplatforms − IBM Page Printer Formatting Aid/370 This announcement is provided for your information only. For additional information, contact your IBM representative, call 800-IBM-4YOU, or visit the IBM home page at: http://www.ibm.com. -
The Difference Between Truetype®, Postscript® and Opentype™ Fonts
THE DIFFERENCE BETWEEN TRUETYPE®, POSTSCRIPT® AND OPENTYPE™ FONTS There are three types of fonts you need to be aware of: TrueType, PostScript and OpenType. They are stored in different directories on the different operating systems. POSTSCRIPT FONTS There are generally two main components to PostScript typefaces. The first file contains the actual PostScript typeface itself and is often called the “binary” or “printer” file. The second file contains the typeface’s complete name, the spacing characteristics (font metrics) and information to help the computer display the typeface on the screen and for printing the font. Both files must be submitted. PostScript typefaces are the preferred typeface format for use in publishing. MACINTOSH POSTSCRIPT FONTS There are at least two parts to this font: a Screen font and a Printer font. Both files must be submitted and there may be more than one Printer font. Screen fonts will be in the Suitcase. Inside the Suitcase are files that have icons that look like pieces of paper with one A on them. Printer fonts can take a variety of forms. One file is needed for each instance of the font. Adobe printer fonts viewed by icon look like this: Other printer fonts could look like: Note: PostScript “printer” files usually have abbreviated file names, but are typically easy to interpret. The first five characters are the abbreviated typeface name, followed by one or more three-character typeface attributes. Some examples of these three-character typeface attributes are “Bol” (bold), “Ita (italic), “Rom” (roman or plain), “Con” (condensed)”, “Obl” (oblique, similar to italic), “Ser” (serif) and “San” (sans serif). -
Font List Opentype Classics Collection ACDEFG Catalog Name Opentype File Name
Font List OpenType Classics Collection ACDEFG Catalog Name OpenType File Name 77.1. AachenNeue Helvetica® by Linotype 76 Bold Italic AachenCom-Bold.ttfHelveticaNeueLTPro-BdIt.otf 78.2. ArnoldNeue Helvetica® Boecklin™ 85 Regular Heavy ArnoldBoecklinLTPro.otfHelveticaNeueLTPro-Hv.otf 79.3. Banco™Neue Helvetica® by Linotype 86 Heavy Heavy Italic ITCBancoCom-Heavy.ttfHelveticaNeueLTPro-HvIt.otf 80.4. BauerNeue Helvetica®Bodoni® Roman 95 Black BauerBodoniStd-Roman.otfHelveticaNeueLTPro-Blk.otf 81.5. BauerNeue Helvetica®Bodoni® Italic 96 Black Italic BauerBodoniStd-Italic.otfHelveticaNeueLTPro-BlkIt.otf 82.6. BauerHelvetica® Bodoni® Inserat Bold Roman BauerBodoniStd-Bold.otfHelveticaInseratLTPro.otf 83.7. BauerKuenstler Bodoni® Script® Bold Medium Italic BauerBodoniStd-BoldItalic.otfKuenstlerScriptCom-Medium.ttf 84.8. BauerKuenstler Bodoni® Script® Black #2 Bold BauerBodoniStd-Black.otfKuenstlerScriptCom-2Bold.ttf 85.9. BauerKuenstler Bodoni® Script® Black Black Italic BauerBodoniStd-BlackItalic.otfKuenstlerScriptCom-Black.ttf 10.86. BauerITC Officina® Bodoni® Sans Bold Book Condensed BauerBodoniStd-BoldCond.otfOfficinaSansITCPro-Book.otf 11.87. BauerITC Officina® Bodoni® Sans Black Book Condensed Italic BauerBodoniStd-BlackCond.otfOfficinaSansITCPro-BookIt.otf 12.88. PMNITC Officina® Caecilia® Sans 45 LightBold CaeciliaCom-45Light.ttfOfficinaSansITCPro-Bold.otf 13.89. PMNITC Officina® Caecilia® Sans 46 LightBold Italic CaeciliaCom-46LightItalic.ttfOfficinaSansITCPro-BoldIt.otf 14.90. PMNOptima® Caecilia® Roman 55 Roman CaeciliaCom-55Roman.ttfOptimaLTStd.otf 15.91. PMNOptima® Caecilia® Italic 56 Italic CaeciliaCom-56Italic.ttfOptimaLTStd-Italic.otf 16.92. PMNOptima® Caecilia® Bold 75 Bold CaeciliaCom-75Bold.ttfOptimaLTStd-Bold.otf 17.93. PMNOptima® Caecilia® Bold Italic 76 Bold Italic CaeciliaCom-76BoldItalic.ttfOptimaLTStd-BoldItalic.otf 18.94. PMNPresent® Caecilia® Roman 85 Heavy CaeciliaCom-85Heavy.ttfPresentCom-Roman.ttf 19.95. PMNRevue™ Caecilia® Regular 86 Heavy Italic CaeciliaCom-86HeavyItalic.ttfRevueStd.otf 20.96. -
Opentype Math Illuminated
Introduction Font parameters Variants and Constructions Summary and Conclusions OpenType Math Illuminated Dr. Ulrik Vieth Stuttgart, Germany BachoTEX 2009 Introduction Font parameters Variants and Constructions Summary and Conclusions Developments in text typesetting • Major trends in publishing • support for Unicode character sets • support for OpenType font technology • Major developments in the TEX community • new TEX engines: X TE EX, LuaTEX • new TEX fonts: Latin Modern, TEX Gyre • Outside developments • OpenType supported by operating systems or libraries • OpenType supported by typesetting software • OpenType supported by commercial font suppliers • OpenType as a replacement for TrueType and Type 1 Introduction Font parameters Variants and Constructions Summary and Conclusions Developments in math typesetting • Unicode math • encoding for math symbols and alphabets • developed by working group (input from STIX, AMS) • standard since 2001 (UTR#25 for Unicode 3.2) • OpenType math • extension of OpenType font format • developed by Microsoft as a vendor-controlled format • officially experimental, but already de facto standard • first implemented in MS Office 2007 • supported by reference fonts: Cambria Math • supported by font editors and tools: FontForge • supported by new TEX engines: X TE EX, LuaTEX Introduction Font parameters Variants and Constructions Summary and Conclusions Overview of OpenType math • OpenType font format • extensible table structure (as in TrueType) • different flavors of font outlines (TrueType vs. CFF) • some tables -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke. -
Font Management Basic Terminology ∞ I
CS 175.21 Windsor Green Spring 2010 Font Management Basic Terminology ∞ I. Font Definition∞ A. Strictly speaking the contents of the two cases - upper and lower - in metal type (for one size) B. Nowadays, the word font means all the glyphs (symbols) for a font in all sizes. Examples; Century, Fritz Quadrata, Myriad, , Giddyup, Gill Sans Ultra Bold Bickham Script C. The term typeface is interchangeable with font in today’s modern computer world A. Myriad Italic D. All the variations for a font is called a font family — B. Myria Regular this includes different weights (thicknesses like bold and light) and glyph widths (condensed and extended). C. Myriad Light II. Acquiring Fonts D. Myriad Bold A. Computer fonts: postscript, True type and Open Type E. Myriad SemiboldCondesed B. Font foundries: companies that create fonts F. Myriad Semibold Italic C. Special system fonts: Microsoft has special TT fonts used in the Windows OS Apple has special TT fonts used in their OS and dfonts. D. Application fonts: Microsoft auto installs numerous True type fonts during Office installation Adobe auto installs numerous OpenType fonts during Adobe CS installation E. Purchased fonts 1. Adobe (no longer creates new PostScript fonts but supports them — the focus is now on Open Type fonts) 2. High end fonts for home use and professional printing: OpenType and PostScript 3. Be careful buying fonts! The same typeface is sometimes available from different foundries. 4. Some websites where you can purchase fonts and where foundries are listed. fonts.com myfonts.com philsfonts.com Page 1 5. Some Foundries linotype.com itcfonts.com bertholdtype.com adobe.com/type Licensing agreements for purchased fonts — how can you legally use a font? 6. -
The PDF Font Aquarium
Timetable 2: modern Times The PDF Font Aquarium > 1993: Acrobat 1.0 (PDF 1.0) supports Type 1, Type 3, and TrueType fonts > 1995: Adobe ships PostScript CID fonts and CMaps for Asian text Thomas Merz > 1996: Adobe and Microsoft jointly announce the OpenType font format PDFlib GmbH > 1996: Acrobat 3 (PDF 1.2) improves Unicode support with ToUnicode CMap München, Germany www.pdflib.com > 2000: Windows 2000 supports OpenType and Type 1 fonts (but not MM!) > 2001: Mac OS X supports OpenType and Type 1 (but not MM!) > 2001: Acrobat 5 (PDF 1.4): Tagged PDFs are fully Unicode-compliant > 2003: Adobe and other font foundries ship thousands of OpenType fonts > 2003: Unicode 4.0 Bethesda (MD), June 2003 1 3 Timetable 1: prehistoric Era PostScript Type 1 Fonts > 1985: Adobe publishes the PostScript and Type 3 specification > Developed by Adobe and part of all PostScript versions > 1986: Adobe starts distribution of Type 1 fonts (proprietary format) > Glyphs are identified by name; glyph names are arranged into encoding vector > 1987: Apples starts work on the TrueType font format > 8-bit addressing: a maximum of 256 glyphs can be used at a time > 1990: Adobe publishes ATM for Mac and the Type 1 font format specification > Fonts may contain an arbitrary number of glyphs > 1991: Unicode 1.0 > Historic relicts in the font and file format: – multiple layers of encryption in order to obscure the inner workings > 1991: Apple supports TrueType fonts in System 6 – ASCII wrapper for the actual font data – syntactic restrictions because of PostScript and -
Adobe Frutiger and NPS Rawlinson—Key Components of the NPS Graphic Identity Program
National Park Service U.S. Department of the Interior HFC onMEDIA March / April | 2006 Issue 11 In This Issue Typography that is distinc- tive, easy to read, and used Introducing consistently is an important OpenType component of NPS graphic Fonts identity. One of several new 2 signs at Lyndon B. Johnson NHP (pictured here with the one it replaces above) shows how NPS standard typefaces Why Frutiger & (Frutiger and NPS Rawlinson) NPS Rawlinson can be used to identify an 3 important park facility. Sharing Frutiger & NPS 5 Rawlinson From the Director The NPS Uniform Like our colleagues across the Service, Harpers Ferry Center has been challenged by Collection tight budgets and a smaller staff . One way we have dealt with this situation is to provide 6 park and program staff with better tools and timely training to meet their own interpre- Call for Career Collections tive media needs. The National Park Service Graphic Identity Program, managed by the HFC Offi ce of NPS Identity, is an excellent example of a service we continue to provide to the Park Service community. Launched in 2001, the program has developed graphic standards that help establish a unique organizational identity expressed through the full range of communication materials used by the National Park Service. Today, this program is expressed through such diverse media as park publications, news releases, wayside exhibits, websites, audiovisual programs, and even highway signs. In this issue of HFC onMEDIA, we announce the release of new OpenType® versions of the NPS typefaces Adobe Frutiger and NPS Rawlinson—key components of the NPS Graphic Identity Program.