Fontcreator Help

Total Page:16

File Type:pdf, Size:1020Kb

Fontcreator Help FontCreator 5.5 © 1997 - 2006 by High-Logic Software, all rights reserved. FontCreator Manual © 1997 - 2006 by High-Logic Software, all rights reserved. All rights reserved. No parts of this work may be reproduced in any form or by any means - graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems - without the written permission of the publisher. FontCreator is a trademark of High-Logic. Microsoft, Windows and OpenType are either trademarks or registered trademarks of Microsoft Corporation in the United States and/or other countries. Apple, the Apple Logo and Macintosh are registered trademarks and TrueType is a trademark of Apple Computer, Inc. registered in the United States and other countries. Adobe and PostScript are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions. All other trademarks and registered trademarks are the sole property of their respective owners. The Unicode Character Database is provided as is by Unicode, Inc. While every precaution has been taken in the preparation of this document, the publisher and the author assume no responsibility for errors or omissions, or for damages resulting from the use of information contained in this document or from the use of programs and source code that may accompany it. In no event shall the publisher and the author be liable for any loss of profit or any other commercial damage caused or alleged to have been caused directly or indirectly by this document. May 2006 Contents I Table of Contents Part I Getting Started 1 Welcome to FontCreator................................................................................................................................... 5.5 2 2 What's New in................................................................................................................................... FontCreator 5.5 2 3 Technical Support................................................................................................................................... 3 4 Registration ................................................................................................................................... 4 Part II Quick Start Tutorial 1 Your First Font................................................................................................................................... -- a Brief Tutorial 6 2 Edit a Glyph - ...................................................................................................................................Character A 8 3 Edit a Glyph - ...................................................................................................................................Character B 9 4 Test and Install................................................................................................................................... the Font 10 Part III About Fonts 1 TrueType ................................................................................................................................... 13 2 OpenType ................................................................................................................................... 13 3 Font Copyright................................................................................................................................... 13 Part IV Editing Fonts 1 Opening, Creating................................................................................................................................... and Saving Fonts 16 Open a Font .......................................................................................................................................................... 16 Create a Font.......................................................................................................................................................... 17 Save a Font .......................................................................................................................................................... 18 Close a Font .......................................................................................................................................................... 18 2 Editing Options................................................................................................................................... 18 Undo Command.......................................................................................................................................................... 18 Redo Command.......................................................................................................................................................... 18 Repeat Your Last.......................................................................................................................................................... Action 19 Finding a Glyph.......................................................................................................................................................... 19 Bookmarks .......................................................................................................................................................... 19 3 Editing Fonts................................................................................................................................... 20 Using the Glyph.......................................................................................................................................................... Overview 20 Glyph Properties.......................................................................................................................................................... 21 Used By .......................................................................................................................................................... 22 Insert Characters.......................................................................................................................................................... 23 Insert Glyphs.......................................................................................................................................................... 24 Copy and Paste.......................................................................................................................................................... Glyphs 24 Adding a New.......................................................................................................................................................... Character - the EURO Sign 25 Font Name .......................................................................................................................................................... 26 Font Type .......................................................................................................................................................... 26 Font Embedding.......................................................................................................................................................... 27 Unicode versus.......................................................................................................................................................... Symbol 27 © 1997 - 2006 by High-Logic Software, all rights reserved. I II FontCreator Help Monospaced ..........................................................................................................................................................versus Proportional 28 Recommended.......................................................................................................................................................... Glyphs 28 Sorting Glyphs.......................................................................................................................................................... 31 Incomplete Glyphs.......................................................................................................................................................... 32 4 Editing Glyphs................................................................................................................................... 32 Introduction .......................................................................................................................................................... 32 Bearings .......................................................................................................................................................... 33 Empty Glyphs.......................................................................................................................................................... 34 Simple Glyphs.......................................................................................................................................................... 34 Introduction......................................................................................................................................................... 34 Contours ......................................................................................................................................................... 36 Points ......................................................................................................................................................... 38 Join and Split........................................................................................................................................................
Recommended publications
  • Cloud Fonts in Microsoft Office
    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
    [Show full text]
  • 15 the Effect of Font Type on Screen Readability by People with Dyslexia
    The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia.
    [Show full text]
  • Background a Short Introduction to Font Characteristics
    fonts: background A short introduction to font characteristics Maarten Gelderman Hardly anyone will dispute the statement that proporion- ally spaced fonts are more beautiful and legible than mono- abstract spaced designs. In a monospaced design the letter i takes as Almost anyone who develops an interest in fonts is bound to much space as a letter m or W. Consequently, some char- be overwelmed by the bewildering variety of letterforms acters look simply too compressed, whereas around oth- available. The number of fonts available from commercial ers too much white space is found. Monospaced fonts are suppliers like Adobe, URW, LinoType and others runs into the simply not suited for body text. Only in situations where it thousands. A recent catalog issued by FontShop [Truong et al., is important that all characters are of equal width, e.g., in 1998] alone lists over 25.000 different varieties.1 And listings of computer programs, where it may be important somehow, although the differences of the individual letters are that each individual character can be discerned and where hardly noticable, each font has its own character, its own the layout of the program may depend on using mono- personality. Even the atmosphere elucided by a text set from spaced fonts, can the usage of a monospaced font be de- Adobe Garamond is noticably different from the atmosphere of the same text set from Stempel Garamond. Although fended. In most other situations, they should simply be decisions about the usage of fonts, will always remain in the avoided. realm of esthetics, some knowledge about font characteristics may nevertheless help to create some order and to find out Romans, italics and slant A second typeface character- why certain design decisions just do not work.
    [Show full text]
  • Using Fonts Installed in Local Texlive - Tex - Latex Stack Exchange
    27-04-2015 Using fonts installed in local texlive - TeX - LaTeX Stack Exchange sign up log in tour help TeX ­ LaTeX Stack Exchange is a question and answer site for users of TeX, LaTeX, ConTeXt, and related Take the 2­minute tour × typesetting systems. It's 100% free, no registration required. Using fonts installed in local texlive I have installed texlive at ~/texlive . I have installed collection­fontsrecommended using tlmgr . Now, ~/texlive/2014/texmf­dist/fonts/ has several folders: afm , cmap , enc , ... , vf . Here is the output of tlmgr info helvetic package: helvetic category: Package shortdesc: URW "Base 35" font pack for LaTeX. longdesc: A set of fonts for use as "drop­in" replacements for Adobe's basic set, comprising: ­ Century Schoolbook (substituting for Adobe's New Century Schoolbook); ­ Dingbats (substituting for Adobe's Zapf Dingbats); ­ Nimbus Mono L (substituting for Abobe's Courier); ­ Nimbus Roman No9 L (substituting for Adobe's Times); ­ Nimbus Sans L (substituting for Adobe's Helvetica); ­ Standard Symbols L (substituting for Adobe's Symbol); ­ URW Bookman; ­ URW Chancery L Medium Italic (substituting for Adobe's Zapf Chancery); ­ URW Gothic L Book (substituting for Adobe's Avant Garde); and ­ URW Palladio L (substituting for Adobe's Palatino). installed: Yes revision: 31835 sizes: run: 2377k relocatable: No cat­date: 2012­06­06 22:57:48 +0200 cat­license: gpl collection: collection­fontsrecommended But when I try to compile: \documentclass{article} \usepackage{helvetic} \begin{document} Hello World! \end{document} It gives an error: ! LaTeX Error: File `helvetic.sty' not found. Type X to quit or <RETURN> to proceed, or enter new name.
    [Show full text]
  • ANSI® Programmer's Reference Manual Line Matrix Series Printers
    ANSI® Programmer’s Reference Manual Line Matrix Series Printers Printronix, LLC makes no representations or warranties of any kind regarding this material, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose. Printronix, LLC shall not be held responsible for errors contained herein or any omissions from this material or for any damages, whether direct, indirect, incidental or consequential, in connection with the furnishing, distribution, performance or use of this material. The information in this manual is subject to change without notice. This document contains proprietary information protected by copyright. No part of this document may be reproduced, copied, translated or incorporated in any other material in any form or by any means, whether manual, graphic, electronic, mechanical or otherwise, without the prior written consent of Printronix, LLC Copyright © 1998, 2012 Printronix, LLC All rights reserved. Trademark Acknowledgements ANSI is a registered trademark of American National Standards Institute, Inc. Centronics is a registered trademark of Genicom Corporation. Dataproducts is a registered trademark of Dataproducts Corporation. Epson is a registered trademark of Seiko Epson Corporation. IBM and Proprinter are registered trademarks and PC-DOS is a trademark of International Business Machines Corporation. MS-DOS is a registered trademark of Microsoft Corporation. Printronix, IGP, PGL, LinePrinter Plus, and PSA are registered trademarks of Printronix, LLC. QMS is a registered
    [Show full text]
  • Typography for Scientific and Business Documents
    Version 1.8 Typography for Scientific and Business Documents George Yefchak Agilent Laboratories What’s the Big Deal? This paper is about typography. But first, I digress… inch marks, so you’ll probably get to enter those manually anyway.† Nothing is perfect…) Most of us agree that the use of correct grammar — or at In American English, punctuation marks are usually placed least something approaching it — is important in our printed before closing quotes rather than after them (e.g. She said documents. Of course “printed documents” refers not just to “No!”). But don’t do this if it would confuse the message words printed on paper these days, but also to things distrib- (e.g. Did she say “no!”?). Careful placement of periods and uted by slide and overhead projection, electronic broadcast- commas is particularly important when user input to ing, the web, etc. When we write something down, we computers is described: usually make our words conform to accepted rules of For username, type “john.” Wrong grammar for a selfish reason: we want the reader to think we For username, type “john”. ok know what we’re doing! But grammar has a more fundamen- tal purpose. By following the accepted rules, we help assure For username, type john . Even better, if font usage that the reader understands our message. is explained If you don’t get into the spirit of things, you might look at Dashes typography as just another set of rules to follow. But good The three characters commonly referred to as “dashes” are: typography is important, because it serves the same two purposes as good grammar.
    [Show full text]
  • A Notation and Definitions
    A Notation and Definitions All notation used in this work is “standard”. I have opted for simple nota- tion, which, of course, results in a one-to-many map of notation to object classes. Within a given context, however, the overloaded notation is generally unambiguous. I have endeavored to use notation consistently. This appendix is not intended to be a comprehensive listing of definitions. The Index, beginning on page 519, is a more reliable set of pointers to defini- tions, except for symbols that are not words. A.1 General Notation Uppercase italic Latin and Greek letters, such as A, B, E, Λ, etc., are generally used to represent either matrices or random variables. Random variables are usually denoted by letters nearer the end of the Latin alphabet, such X, Y ,and Z, and by the Greek letter E. Parameters in models (that is, unobservables in the models), whether or not they are considered to be random variables, are generally represented by lowercase Greek letters. Uppercase Latin and Greek letters are also used to represent cumulative distribution functions. Also, uppercase Latin letters are used to denote sets. Lowercase Latin and Greek letters are used to represent ordinary scalar or vector variables and functions. No distinction in the notation is made between scalars and vectors;thus,β may represent a vector and βi may represent the ith element of the vector β. In another context, however, β may represent a scalar. All vectors are considered to be column vectors, although we may write a vector as x =(x1,x2,...,xn). Transposition of a vector or a matrix is denoted by the superscript “T”.
    [Show full text]
  • (212) 555-1212 [email protected] Active Member
    William Shunn (he/him) about 1,500 words 12 Courier Place Pica’s Font, NY 12012 (212) 555-1212 [email protected] Active member, SCHWA Proper Manuscript Format by Bill Shunn No one knows how many good stories are passed over because the manuscripts containing them are poorly formatted. We can be certain, however, that editors will more eagerly read a cleanly formatted manuscript than a cluttered and clumsy one. Here are a few suggestions for giving your manuscript that critical leg up on the competition. Start with a fresh white page, no color, no decorations. Set one-inch margins all around--left, right, top, and bottom. This is the default for most word processors, but you might want to recheck your settings just to be safe. Use black type only, since other colors can make your work difficult to read. Set your font size to 12 points. For the Shunn / Format / 2 font itself choose something standard and easily readable, like Times New Roman. Avoid sans-serif fonts, and stay far away from anything flashy or unusual. You want to wow the editor with your content, not your font choice. (Some writers, myself included, still prefer Courier New, a monospaced font that resembles typewriter output. You can use that too if you like, but it’s probably on its way out, at least in fiction circles.) Place your contact information in the upper-left corner of the first page, including your legal name, address, phone number, and email. Add your preferred pronouns if you like. List any professional writing affiliations next, but only when relevant.
    [Show full text]
  • Fonts and Information Loss in Legacy Digital Documents
    UC Office of the President iPRES 2009: the Sixth International Conference on Preservation of Digital Objects Title Born Broken: Fonts and Information Loss in Legacy Digital Documents Permalink https://escholarship.org/uc/item/53z897zb Authors Brown, Geoffrey Woods, Kam Publication Date 2009-10-05 Supplemental Material https://escholarship.org/uc/item/53z897zb#supplemental Peer reviewed eScholarship.org Powered by the California Digital Library University of California Proceedings October 5-6, 2009 Mission Bay Conference Center San Francisco, California Born Broken: Fonts and Information Loss in Legacy Digital Documents Geoffrey Brown and Kam Woods Department of Computer Science, Indiana University 150 S. Woodlawn Ave. Bloomington, IN 47405-7104 Abstract and their frequency. For example, corporate logos are often For millions of legacy documents, correct rendering implemented with dedicated fonts containing a single depends upon resources such as fonts that are not generally glyph. There may be no substantive information loss from embedded within the document structure. Yet there is a missing logo for most purposes. In contrast, substitution significant risk of information loss due to missing or for mathematical symbols may result in total information incorrectly substituted fonts. loss. For example, our experimental data include 9 In this paper we use a collection of 230,000 Word documents with program listings for the Texas Instruments documents to assess the difficulty of matching font requirements with a database of fonts. We describe the TI-83 series calculators rendered with the Ti83Pluspc font identifying information contained in common font formats, which provides various mathematical symbols; these font requirements stored in Word documents, the API program listings are incomprehensible when rendered provided by Windows to support font requests by without this obscure font.
    [Show full text]
  • Expressionist 3.2 User's Guide
    FOREWARD Equation typesetting has traditionally been a difficult task. Besides the unorthodox symbols and arrangements, there almost always needs to be some ad-hoc fine-tuning, deviating at times from whatever typesetting rules may seem to apply. Until recently, computers have been heavily oriented toward linear text. Equation structures, which evolved on two dimensional surfaces that were marked with human hands with perfect freedom, did not carry over well. Expressionist grew out of a need for an intuitive equation typesetting method. Besides displaying the expression being edited, it allows easy editing of that expression in an obvious way, as modern word processors allow easy, intuitive modification of documents. This user’s manual consists mainly of tutorial and reference sections, referred to as the Guided Tour and the Encyclopedia, respectively. If you are like most people, you may want to put down the manual and start using the software right away. Fortunately, you do not need to read the entire manual to use Expressionist if you are familiar with Windows and some general applications. Just follow the instructions in the Getting Started section and start using the program. To learn Expressionist, start with the Quick Tour, take the Guided Tour, work through the tutorials, and by the time you hit the Cookbook you’ll be proficient enough with the program to create equations with a minimum of assistance from the documentation. If you wish to become a power user of Expressionist and master all of its useful features, you can look up items of interest in the Encyclopedia, which is an alphabetized reference section.
    [Show full text]
  • Fonts Reference, Version 12.2.1
    Start Oracle® Documaker Fonts Reference version 12.2 Part number: E41180-01 August 2013 Notice Copyright © 2009, 2013, Oracle and/or its affiliates. All rights reserved. The Programs (which include both the software and documentation) contain proprietary information; they are provided under a license agreement containing restrictions on use and disclosure and are also protected by copyright, patent, and other intellectual and industrial property laws. Reverse engineering, disassembly, or decompilation of the Programs, except to the extent required to obtain interoperability with other independently created software or as specified by law, is prohibited. The information contained in this document is subject to change without notice. If you find any problems in the documentation, please report them to us in writing. This document is not warranted to be error-free. Except as may be expressly permitted in your license agreement for these Programs, no part of these Programs may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose. If the Programs are delivered to the United States Government or anyone licensing or using the Programs on behalf of the United States Government, the following notice is applicable: U.S. GOVERNMENT RIGHTS Programs, software, databases, and related documentation and technical data delivered to U.S. Government customers are "commercial computer software" or "commercial technical data" pursuant to the applicable Federal Acquisition Regulation and agency-specific supplemental regulations. As such, use, duplication, disclosure, modification, and adaptation of the Programs, including documentation and technical data, shall be subject to the licensing restrictions set forth in the applicable Oracle license agreement, and, to the extent applicable, the additional rights set forth in FAR 52.227-19, Commercial Computer Software--Restricted Rights (June 1987).
    [Show full text]
  • Born Broken: Fonts and Information Loss in Legacy Digital Documents
    California Digital Library UC Office of the President Peer Reviewed Title: Born Broken: Fonts and Information Loss in Legacy Digital Documents Author: Brown, Geoffrey, Indiana University Woods, Kam, Indiana University Publication Date: 10-05-2009 Series: iPRES 2009: the Sixth International Conference on Preservation of Digital Objects Publication Info: iPRES 2009: the Sixth International Conference on Preservation of Digital Objects, California Digital Library, UC Office of the President Permalink: http://www.escholarship.org/uc/item/53z897zb Multimedia URL: http://www.cdlib.org/services/uc3/iPres/video.html?file=ipres/Brown&title=Geoffrey%20Brown %3A%20Born%20Broken%3A%20Fonts%20and%20Information%20Loss%20in%20Legacy %20Digital%20Documents Abstract: For millions of legacy documents, correct rendering depends upon resources such as fonts that are not generally embedded within the document structure. Yet there is significant risk of information loss due to missing or incorrectly substituted fonts. In this paper we use a collection of 230,000 Word documents to assess the difficulty of matching font requirements with a database of fonts. We describe the identifying information contained in common font formats, font requirements stored in Word documents, the API provided by Windows to support font requests by applications, the documented substitution algorithms used by Windows when requested fonts are not available, and the ways in which support software might be used to control font substitution in a preservation environment. Supporting material: Presentation Copyright Information: eScholarship provides open access, scholarly publishing services to the University of California and delivers a dynamic research platform to scholars worldwide. Proceedings October 5-6, 2009 Mission Bay Conference Center San Francisco, California Born Broken: Fonts and Information Loss in Legacy Digital Documents Geoffrey Brown and Kam Woods Department of Computer Science, Indiana University 150 S.
    [Show full text]