DOCSLIB.ORG

Glyphs Mini 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Handbook March 2017 Glyphs Mini 2 Create – Produce – Release Affordable Font Editing for Everyone You are reading the Glyphs Mini Handbook from March 2017 for the application version 2.0. Please download the latest version of this handbook at: glyphsapp.com/get-started © 2011–2017 glyphsapp.com Written by Stella Chupik, Rainer Erich Scheichelbauer and Georg Seifert. Thanks to Jeff Kellem, Rob Keller, Toshi Omagari and Claus Eggers Sørensen for their invaluable input. Contents 1 Glyphs 6 2.4.1 Compound and Positioning 1.1 Glyphs Mini 6 Anchors 21 1.2 Installation 6 2.4.2 Ligature Carets 22 1.3 Community 6 2.4.3 Adding, Editing and 1.4 Updates 7 Removing Anchors 23 1.5 Keyboard Shortcuts 7 2.4.4 Mark to Base Positioning 23 1.6 Glyphs 7 2.4.5 Mark to Mark 1.7 Crash Reports 7 Positioning 24 2.5 Guidelines 24 2 Edit View 9 2.5.1 Magnetic Guidelines 24 2.1 Editing Glyphs 9 2.5.2 Local and Global 2.2 Drawing Paths 9 Guidelines 24 2.2.1 Draw Tool 9 2.6 Glyph Display 26 2.2.2 Pencil Tool 10 2.6.1 Zooming 26 2.2.3 Pixel Tool 10 2.6.2 Panning 26 2.2.4 Primitives 11 2.6.3 View Options 27 2.3 Editing Paths 12 2.6.4 Glyph Colors 27 2.3.1 Selecting Nodes and 2.7 Background 28 Paths 12 2.8 Entering Text 28 2.3.2 Moving Selected Nodes and 2.8.1 Sample Texts 29 Paths 12 2.8.2 Text Tool 29 2.3.3 Lasso Tool 13 2.9 Measuring 30 2.3.4 Converting Nodes and 2.9.1 Info Box 30 Segments 13 2.9.2 Measurement Tool 32 2.3.5 Nodes in Alignment 2.9.3 Measurement Guidelines 33 Zones 14 2.10 Images 34 2.3.6 Scaling and Rotating 14 2.10.1 Adding Images 34 2.3.7 Aligning 15 2.10.2 Manipulating Images 35 2.3.8 Duplicating Paths 16 2.11 Previewing and Testing 36 2.3.9 Deleting Nodes 16 2.11.1 Previewing in macOS 36 2.3.10 Opening and Closing 2.11.2 Previewing in Adobe Paths 17 Applications 36 2.3.11 Cutting Paths 18 2.11.3 Previewing in Web 2.3.12 Remove Overlap 19 Browsers 37 2.3.13 Resegmenting Outlines 19 2.3.14 Controlling Path 3 Palette 38 Direction 20 3.1 Palette Sidebar 38 2.3.15 Extremes and 3.2 Dimensions 38 Inflections 20 3.3 Fit Curve 38 2.3.16 Duplicate Nodes 21 3.4 Transformations 38 2.4 Anchors 21 3.4.1 Transformation Origin 39 3.4.2 Mirroring 39 5.6.1 Glyph Info Database 53 3.4.3 Reversible 5.6.2 Naming Glyphs 54 Transformations 39 5.6.3 Renaming Glyphs 55 3.4.4 Aligning 40 3.4.5 Boolean Operations 40 6 Font Info 56 6.1 Family and Style Names 56 4 Filters 41 6.2 Metrics 56 4.1 Filters Menu 41 6.3 Stems and Alignment 4.2 Filters 41 Zones 57 4.2.1 Hatch Outline 41 6.4 Designer and Designer 4.2.2 Offset Curve 42 URL 58 4.2.3 Round Corners 42 6.5 Manufacturer and 4.2.4 Transformations 43 Manufacturer URL 58 6.6 Version 58 5 Font View 45 6.7 Copyright and License 58 5.1 Viewing Glyphs 45 6.8 Style Linking 59 5.1.1 Searching for Glyphs 45 6.9 Weight and Width 59 5.2 Managing the Glyph Set 46 6.10 Grid Spacing and 5.2.1 Generating New Glyphs 46 Subdivision 59 5.2.2 Copying Glyphs Between 6.11 Units per Em 60 Files 47 5.2.3 Removing Glyphs 47 7 Reusing Shapes 61 5.3 Glyph Properties 47 7.1 Components 61 5.3.1 Name 48 7.1.1 Building Compounds 61 5.3.2 Width and Sidebearings 48 7.1.2 Turning Paths into 5.3.3 Kerning Groups 48 Components 61 5.3.4 Export 48 7.1.3 Editing Components 62 5.3.5 Color Label 48 7.1.4 Moving between Base 5.3.6 Unicode 49 Glyphs and Compounds 63 5.4 Batch-Processing 49 7.1.5 Anchors 63 5.4.1 Selecting Glyphs 49 7.1.6 Automatic Alignment 65 5.4.2 Menu Commands 49 7.1.7 Locking Components 66 5.4.3 Batch-Renaming Glyphs 49 7.1.8 Component Colors 66 5.4.4 Palette Manipulations 50 7.1.9 Decomposing 66 5.5 Filtering and Sorting 50 7.1.10 Combining Paths and 5.5.1 Search Box 50 Components 66 5.5.2 Private Use Area 51 7.1.11 Nesting Components 67 5.5.3 Categories 51 7.1.12 Preferred Marks for Glyph 5.5.4 Languages 52 Composition 67 5.5.5 Smart Filters 52 7.1.13 Underscore Components 68 5.5.6 List Filters 53 7.2 Corner and Cap 5.5.7 Manage Filters 53 Components 68 5.6 Names and Unicode 53 7.2.1 Corner Components 68 7.2.2 Cap Components 70 10.4.2 Wrong Path Orientation 83 10.4.3 Multiple Paths on Top of 8 Spacing and Kerning 72 Each Other 83 8.1 Spacing 72 8.1.1 Spacing Shortcuts 72 11 Import and Export 84 8.1.2 Metric Keys 72 11.1 Vector Drawing 8.2 Kerning 73 Applications 84 8.2.1 Ways to Kern 73 11.1.1 Adobe Illustrator 84 8.2.2 Kerning Groups 74 11.1.2 Sketch 84 8.2.3 Finding and Viewing 11.2 FontLab Studio 84 Kerning Pairs 74 11.2.1 From FontLab Studio 5 to 8.2.4 Deleting Kerning Pairs 75 Glyphs Mini 84 8.2.5 Cleaning up Kerning 75 11.2.2 From Glyphs Mini to 8.2.6 Compressing Kerning 75 FontLab Studio 5 84 11.3 OpenType 85 9 Hinting 76 11.3.1 Opening Existing Fonts 85 9.1 What is Hinting? 76 11.3.2 Generating OpenType 9.2 Font-Wide Hints 77 Fonts 85 9.3 Glyph-Level Hints 78 11.3.3 Generating Webfonts 86 9.3.1 Adding Stem Hints 78 9.3.2 Adding Ghost Hints 80 12 Preferences 87 9.4 Testing the Screen 12.1 Accessing Application Rendering 81 Preferences 87 12.1.1 Updates 87 10 Error Handling 82 12.1.2 User Settings 87 10.1 Glyph Names 82 12.1.3 Sample Strings 88 10.2 Font Names 82 10.3 Duplicate Unicode 13 Appendix 90 Values 83 13.1 Automatic Feature 10.4 Missing Outlines 83 Generation 90 10.4.1 Open Paths 83 1 Glyphs 1.1 GLYPHS MINI Glyphs Mini is a trimmed-down, light version of the application. It is primarily a tool for designing and producing new fonts. Its main principle is that you can edit glyphs in a word context. All tools are optimized for a type design workflow as natural, quick, and intuitive as possible. We believe that you should be able to focus on your design and only be bothered with technicalities if it is really necessary. There is no need for keeping a design version next to a production version of your font. All production steps take place at export time. By default, Glyphs Mini automates a lot of technical details for you. It lacks many of the advanced features of the full application, e.g., support for plug-ins, glyph layers, Multiple Masters, Python scripting, custom OpenType feature code, custom parameters, and manual hinting. It is intended as a simple and affordable entry-level solution for casual type design or putting together a dingbat (symbol) font. All available tools and uses are described in this handbook. Glyphs Mini exports OpenType/CFF (Compact Font Format, suffix .otf) and Webfont (suffix .woff). Glyphs Mini can open existing fonts. However, in the import process, some information stored in the font may be lost. For details, see chapter 11, ‘Import and Export’ (p. 84). 1.2 INSTALLATION Glyphs Mini is a Mac-only application. Glyphs Mini 2.0 or higher requires at least macOS 10.9.5 Mavericks. Download the trial from glyphsapp.com/mini and move the app into your Applications folder, which you can access in Finder via Go > Applications (Cmd-Shift-A). To unlock the trial, open the .glyphsmini2license file you purchased, either by simply double clicking the license file, or by dragging it onto the app icon. 1.3 COMMUNITY If you have questions, bug reports or suggestions, you can register for free in the Glyphs forum at forum.glyphsapp.com . Glyphs Mini Handbook, March 2017 6 1.4 UPDATES The application is updated on a regular basis. The latest feature additions are described on glyphsapp.com/blog. You can check which version you have by choosing Glyphs Mini > If you downloaded Glyphs About Glyphs Mini and trigger an update with Glyphs Mini > Mini from the AppStore, Check for Updates or by activating automatic updates in Glyphs you can keep it up to Mini > Preferences > Updates. For more details, see section 12.1.1, date with AppStore app. ‘Updates’ (p. 87). 1.5 KEYBOARD SHORTCUTS To enable a workflow as efficient as possible, Glyphs Mini employs a number of keyboard shortcuts. You can set your own shortcuts in the macOS System Preferences, under Keyboard > Shortcuts > App Shortcuts.
Recommended publications
  • Art, Philosophy, and the Philosophy Of

    Art, Philosophy, and the Philosophy Of

    NATIONAL E N D O W M E N T FOR THE HUMANITIES VOLUME 4 NUMBER 1 FEBRUARY 1983 Humanities Art, Philosophy, and the Philosophy of Art period of Abstract Expressionism, ward behavior might be indistin­ when decisions for or against The guishable between the two. In all these Image were fraught with an almost cases one must seek the differences religious agony, the crass and casual outside the juxtaposed and puzzling use of tacky images by the new examples, and this is no less the case artists seemed irreverent and juve­ when seeking to account for the dif­ nile. But the Warhol show raised a ferences between works of art and question which was intoxicating and mere real things which happen immediately philosophical, namely exactly to resemble them. why were his boxes works of art This problem could have been while the almost indistinguishable raised at any time, and not just with utilitarian cartons were merely con­ the somewhat minimal sorts of tainers for soap pads? Certainly the works one might suspect the Brillo minor observable differences could Boxes to be. It was always conceiva­ not ground as grand a distinction as ble that exact counterparts to the that between Art and Reality! most prized and revered works of BY ARTHUR C. DANTO A philosophical question arises art could have come about in ways Not very many years ago, whenever we have two objects inconsistent with their being works aesthetics—understood as the phi­ which seem in every relevant par­ at all, though no observable differ­ losophy of art—was regarded as the ticular to be alike, but which belong ences could be found.
  • The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism

    The Origins of the Underline As Visual Representation of the Hyperlink on the Web: a Case Study in Skeuomorphism

    The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Romano, John J. 2016. The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797379 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Origins of the Underline as Visual Representation of the Hyperlink on the Web: A Case Study in Skeuomorphism John J Romano A Thesis in the Field of Visual Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Abstract This thesis investigates the process by which the underline came to be used as the default signifier of hyperlinks on the World Wide Web. Created in 1990 by Tim Berners- Lee, the web quickly became the most used hypertext system in the world, and most browsers default to indicating hyperlinks with an underline. To answer the question of why the underline was chosen over competing demarcation techniques, the thesis applies the methods of history of technology and sociology of technology. Before the invention of the web, the underline–also known as the vinculum–was used in many contexts in writing systems; collecting entities together to form a whole and ascribing additional meaning to the content.
  • Desktop + Mobile Style Guide 06.22.15

    Desktop + Mobile Style Guide 06.22.15

    DESKTOP + MOBILE STYLE GUIDE 06.22.15 SITE BASICS PRIMARY TYPEFACE PRIMARY COLORS SECONDARY COLORS Helvetica, Arial, sans-serif R0 G70 B127 R0 G24 B46 HEX# 00467F HEX# 00182E R255 G201 B57 R47 G107 B189 HEX# FFC939 HEX# 2F6BBD R77 G79 B83 HEX# 4D4F53 R0 G0 B0 HEX# 000000 2 UNIVERSAL ELEMENTS PRIMARY BUTTONS LINKS CARETS IDLE ROLLOVER IDLE ROLLOVER ON CLEAN BACKGROUND PRIMARY NAVIGATION ON BUSY BACKGROUND IDLE ROLLOVER 3 HEADINGS AND LISTS A Font Family Helvetica, Arial, sans-serif B Font Family Helvetica, Arial, sans-serif Font Size 40px/48px Font Size 30px A Font Weight Bold Color #ffffff Color #000000 B C C Font Family Helvetica, Arial, sans-serif D Font Family Helvetica, Arial, sans-serif Font Weight Bold Font Size 24px/34px D Font Size 24px/34px Color #000000 Color #2F6BBD E E Font Family Helvetica, Arial, sans-serif F Font Family Helvetica, Arial, sans-serif Font Size 24px/34px Font Size 24px/34px F Color #000000 Color #000000 Margin-bottom 34px Margin-bottom 17px G Font Family Helvetica, Arial, sans-serif Font Size 24px/34px Color #000000 Margin-bottom 17px G 4 DESKTOP TYPOGRAPHY B A A Font Family Helvetica, Arial, sans-serif B Font Family Helvetica, Arial, sans-serif C Font Size 16px Font Size 16px Font Weight Bold Color #ffffff Color #cccccc Hover Underline Hover Underline C Font Family Helvetica, Arial, sans-serif D Font Family Helvetica, Arial, sans-serif Font Weight Bold Font Size 24px/30px D Font Size 22px/24px Color #000000 E Color #ffffff F E Font Family Helvetica, Arial, sans-serif F Font Family Helvetica, Arial, sans-serif
  • Cloud Fonts in Microsoft Office

    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
  • 15 the Effect of Font Type on Screen Readability by People with Dyslexia

    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.
  • Introducing Opentype Ab

    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.
  • Glyphs! Data Communication for Primary Mathematicians. REPORT NO ISBN-1-56417-663-0 PUB DATE 97 NOTE 68P

    Glyphs! Data Communication for Primary Mathematicians. REPORT NO ISBN-1-56417-663-0 PUB DATE 97 NOTE 68P

    DOCUMENT RESUME ED 401 134 SE 059 203 AUTHOR O'Connell, Susan R. TITLE Glyphs! Data Communication for Primary Mathematicians. REPORT NO ISBN-1-56417-663-0 PUB DATE 97 NOTE 68p. AVAILABLE FROM Good Apple, 299 Jefferson Road, P.O. Box 480, Parsippany, NJ 07054-0480 (GA 1573). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS *Communication Skills; *Data Analysis; *Data Interpretation; Elementary Education; Learning Activities; *Mathematics Instruction; Teaching Methods; Thinking Skills ABSTRACT Glyphs, a way of representing data pictorially, are a new way for elementary students to collect, display, and interpret data. This book contains a number of glyph activities that can be used as creative educational tools -for grades 1=-3. Each glyph_has three essential construction elements: the glyph survey (the questions that are asked), the glyph directions (tell what to draw based on the answers given), and the glyph pattern (a reproducible provided in this book or a shape that is hand drawn on a sheet of paper). Glyph activities begin with the collection of data followed by displaying the data by following a series of directions. Once glyphs are created they can be analyzed and interpreted' in many ways. In the process of exploring their glyphs students are provided' with opportunities to communicate their mathematical thinking both orally and in writing. Along with building data analysis and communication skills, glyphs also stimulate students' mathematical reasoning as they compare, contrast, and draw conclusions. (JRH). *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document.
  • Kahk' Uti' Chan Yopat

    Kahk' Uti' Chan Yopat

    Glyph Dwellers Report 57 September 2017 A New Teotiwa Lord of the South: K’ahk’ Uti’ Chan Yopat (578-628 C.E.) and the Renaissance of Copan Péter Bíró Independent Scholar Classic Maya inscriptions recorded political discourse commissioned by title-holding elite, typically rulers of a given city. The subject of the inscriptions was manifold, but most of them described various period- ending ceremonies connected to the passage of time. Within this general framework, statements contained information about the most culturally significant life-events of their commissioners. This information was organized according to discursive norms involving the application of literary devices such as parallel structures, difrasismos, ellipsis, etc. Each center had its own variations and preferences in applying such norms, which changed during the six centuries of Classic Maya civilization. Epigraphers have thus far rarely investigated Classic Maya political discourse in general and its regional-, site-, and period-specific features in particular. It is possible to posit very general variations, for example the presence or absence of secondary elite inscriptions, which makes the Western Maya region different from other areas of the Maya Lowlands (Bíró 2011). There are many other discursive differences not yet thoroughly investigated. It is still debated whether these regional (and according to some) temporal discursive differences related to social phenomena or whether they strictly express literary variation (see Zender 2004). The resolution of this question has several implications for historical solutions such as the collapse of Classic Maya civilization or the hypothesis of status rivalry, war, and the role of the secondary elite. There are indications of ruler-specific textual strategies when inscriptions are relatively uniform; that is, they contain the same information, and their organization is similar.
  • Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim

    Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim

    Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim, Jin Hyung Kim To cite this version: Dae Hwan Kim, Jin Hyung Kim. Ligature Modeling for Recognition of Characters Written in 3D Space. Tenth International Workshop on Frontiers in Handwriting Recognition, Université de Rennes 1, Oct 2006, La Baule (France). inria-00105116 HAL Id: inria-00105116 https://hal.inria.fr/inria-00105116 Submitted on 10 Oct 2006 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Ligature Modeling for Recognition of Characters Written in 3D Space Dae Hwan Kim Jin Hyung Kim Artificial Intelligence and Artificial Intelligence and Pattern Recognition Lab. Pattern Recognition Lab. KAIST, Daejeon, KAIST, Daejeon, South Korea South Korea [email protected] [email protected] Abstract defined shape of character while it showed high recognition performance. Moreover when a user writes In this work, we propose a 3D space handwriting multiple stroke character such as ‘4’, the user has to recognition system by combining 2D space handwriting write a new shape which is predefined in a uni-stroke models and 3D space ligature models based on that the and which he/she has never seen.
  • Opentype Installation Basics for Context

    Opentype Installation Basics for Context

    The PracTEX Journal TPJ 2005 No 02, 2005-04-15 Rev. 2005-04-16 OpenType installation basics for ConTEXt Adam T. Lindsay To make a sweeping generalization, ConTEXt tends to attract people who are in- terested in customizing their own documents. While LATEX’s use is dominated by pre-cooked document layouts, using templates for academic publishing, ConTEXt seems to attract those people looking for just a little bit more flexibility. It is not surprising, then, that many ConTEXt users – both professional and personal users – tire of dealing with the default Computer Modern font family, and look to install their own fonts in order to imbue their documents with their own personality. Font purchasing has been a tricky business. Fonts have traditionally been avail- able in two different formats (PostScript and TrueType) for each of two different platforms (different encapsulating file formats for PC and Mac). Periodically, mod- ern updates to those font formats have appeared, promising new features with that new technology (e.g., Multiple Masters, GX), only to have withered and died in the marketplace. So designers and others who buy fonts may tire of the frac- tured market of multiple font formats, but they should understandably be a little leery of new font formats. It is within this environment that the OpenType font format was conceived. It attempts to unify TrueType and PostScript imaging models, and unifies the file formats so that there is one file designed to work on any platform. It unifies across many encodings by utilizing Unicode as the native font encoding. It unifies across expert encodings, small caps fonts, and other fonts with alternative glyphs by in- troducing OpenType features, which allow fairly sophisticated glyph replacement procedures.
  • Background a Short Introduction to Font Characteristics

    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.
  • Opentype Postscript Fonts with Unusual Units-Per-Em Values

    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- .*...*.