![]() To all you who say "language belongs to the people" I say that if an entire nation of people call a dog a cow, it still won't give milk. ![]() The font picker dialog on any given platform actually does pick a font, because it specifies a particular size. Now that rendering is done in real time on the video card, you don't install fonts, you install typefaces, but for "consistency" Apple and Microsoft (and the Linux people, for that matter) refer to them as fonts in typography management user interfaces, leading to a widespread misperception of the meaning of the word font. In days of yore this was a bit much to ask for in real time and typefaces were pre-rendered at various sizes into font files. 1 It is a particular graphical representation, in a particular typeface, of an element of written language. In typography, a glyph is 'the specific shape, design, or representation of a character'. This non-trivial process involves hinting, alpha blending and pixel snapping according to complex rules and quite a lot of metadata. A glyph ( / lf /) is any kind of purposeful mark. In digital typography, font refers to a rendering of a typeface at a particular pixel size. As pointed out by the commenter, this is necessarily in a particular size. It refers specifically to the founding of a typeface in lead. The word "font" is from French fonte, from Middle French, act of founding, from Vulgar Latin *fundita, feminine of funditus, past participle of Latin fundere to found or pour (in the sense of casting). A glyph is a vector shape, and in your context it is a specific character from a typeface in no particular size.Ī comment below suggests that digital fonts can have multiple sizes. One letter that is supposed to carry two inflections is – not surprisingly – the ‘s’.A font is a typeface in a specific size. In Speed Punk this will show as the curvature illustration crossing over the outline into the other side (in Outer side of curve mode) or bounce back from the outline (in Outside of glyph mode). However small the amount is – if not intended it should be avoided. Have you ever wondered what the much talked about inflections actually are? We get taught that a curve’s one handle is not supposed to cross over the other handle’s imaginary continued direction, but why? What this actually means is that the curvature at some point in the curve segment inflects into the negative – the curve becomes an ‘s’ form. Still with Speed Punk we can observe some interesting anomalies of Bézier curves. When the two opposing corners of the ‘o’ have a similar color, their curvature amount is also similar.Īll of this design trouble, however, will go away with increasing experience of the type designer. As another visual aid, the illustrations’ colors are being interpolated between the highest and lowest measured curvature amounts for each glyph. Simple.Īnother thing to judge other than continuous curvature across on-curve points is the distribution of curvature within curve segments: how lose or tight are the curves? While it is very hard to assess equal curvature on two opposing corners of an ‘o’, visually comparing the sizes of the curvature illustrations is much easier. If you see a jump in the curvature illustration, curvature is discontinuous. This way it is easy to judge curvature continuity at on-curve points: if the illustrations are of same distance from the on-curve point (they meet), the two curves are of continuous curvature. The bigger the illustration is, the higher the curvature is at this point. This is a technique commonly known from CAD software. Speed Punk illustrates the curvature on top of the outlines. RJSim January 1, 2012, 3:31am 3 Thanks for the reply. The main differences to the full version: no Multiple Master no Scripting no UFO im/export limited OpenType feature support What is is meant for: Casual font design. This poses the risk of discontinuous curvature. Glyphs Mini is a striped down version of Glyphs. Wouldn’t it feel natural to position the on-curve points along the contrast axis for the counter or along a mirrored contrast axis for the outline? Instead we have to position the nodes horizontally and vertically in the most awkward spots. Take the construction of the letter ‘o’ mimicking a broad nib pen for instance. Whether you are a professional graphic designer with your personal base of fonts, or you can’t tell the difference between a font and typeface, this app is for you. But those extremum points will unfortunately in many cases have to be positioned in shape-wise unnatural locations. Instead of increasing all stems by the same. It is (or was, as some voices say) necessary to speed up glyph arithmetics especially for making glyph bounding box calculation efficient and reliable. You may find that in some cases the Change Glyph dialog will do a better job of emboldening or thinning a font. A technical requirement of digital typefaces adds to the type designer’s problem: the necessity of adding on-curve points at the curves' extremes in both X and Y direction.
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