Browse the latest fontforge tutorials by envato tuts+ for ‘fontforge’ – all online and free! What are you learning today?. What You’ll Be CreatingIf you’re a designer or illustrator who’s more comfortable creating glyphs in Adobe Illustrator, this tutorial is right up your. Steps to creating a font 03/24/ PM. Tutorial This tutorial is also available as a pdf version. If you wish to follow along with the tutorial, this bundle .
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George Williams – mtoledan. Documents Ressources professionnelles Informatique. Tutorial fontforge George Williams – mtoledan Documents.
Description Steps to creating a font If you wish to follow along with the tutorial, this bundle should provide youwith the basic files you need. I shall not presume to teach aesthetics, I concentrate solely on the mechanics here.
Now this is what I call workmanship. There is nothing on earth more exquisite than a bonny book,with well-placed columns of rich black writing in beautiful borders, and illuminated pictures cunningly inset. But nowadays, instead of looking at books, people read them. A book might as well be one of those orders forbacon and bran that you are scribbling. Voir plus Voir moins. NumPy Tutorial presented at SciPy Steps to creating a font If you wish to follow along with the tutorial, this bundle should provide you with the basic files you need.
There is nothing on earth more exquisite than a bonny book, with well-placed columns of rich black writing in beautiful borders, and illuminated pictures cunningly inset. A book might as well be one of those orders for bacon and bran that you are scribbling. Font creation First create a new font with the New command in the File menu or by using the -new argument at startup.
Page 1 of Give the font a name with the Font Info command from the Element menu. You use this same command to set the copyright message and change the ascent and descent the sum of these two determines the size of the em square for the font, and by convention is for postscript fonts, a power of two often or for truetype fonts and 15, for Ikarus fonts.
Also if you are planning on making a truetype font you might want to check the Quadratic Splines checkbox to use the native truetype format. Editing is a little more difficult in this mode though.
FontForge generally creates new fonts with an ISO, which contains most of the characters needed for Western Europe the latin letters, some accented letters, digits, and symbols. Page 2 of Double click on the entry for “C” in the fontforye view above. You should now have an empty Outline Glyph window: The outline glyph window contains two palettes snuggled up on the fohtforge side of the window.
The top palette contains a set of editing tools, and the bottom palette controls which layers of the window are visible or editable.
The foreground layer contains the outline that will become part of the font. The background layer can contain images or line drawings that help you draw this particular glyph.
The guide layer contains lines that are useful on a font-wide basis such as the x-height. Currently all layers are empty. This window also shows the glyph’s internal coordinate system with the x and y axes drawn in light grey.
A line representing tutoorial glyph’s advance width is drawn in black at the right edge of the window. FontForge assigns an advance width of one em in PostScript that will usually be units to the advance width of a new glyph. Select the Import command from the File menu and import an image of the glyph you are creating.
It will be scaled so that it is as high as the em-square. Select the background layer as editable from the layers palette, move the mouse pointer to one of the edges of the image, hold down the shift key, depress and drag the corner until the image is a reasonable size, then move the pointer onto the dark part of the image, depress the mouse and drag until the image is properly positioned. Page 3 of But if you have not tuorial must add points yourself.
Design With FontForge
Change the active layer to be the foreground, and go to the tools palette and select the round or curve point. Then move the pointer to the edge of the image and add a point.
I find that it is best to add points at places where the curve is horizontal or vertical, at corners, or where the curve changes inflection A change of inflection occurs in a curve like “S” where the curve changes from being open to the left to being open on the right.
If you follow these tutofial hinting will work better. It is best to enter a curve in a clockwise fashion, so the next point should be added up at the top of the image on the flat section.
Because the shape becomes flat here, a curve point is not appropriate, rather a tangent point is this looks like a little triangle on the tools palette. A tangent point makes a nice transition from curves to straight lines because the curve leaves the point with the same slope the line had when it entered.
Page 4 of At the moment this “curve” doesn’t match the image at all, don’t worry about that we’ll fix it later, and anyway it will change on its own as we continue.
Note that we now have a control point attached to the tangent point the little blue fontfforge. The next point needs to go where the image changes direction abruptly. Neither a curve nor a tangent point is appropriate here, instead we must use a corner point one of the little squares on the tools palette. As you see the old curve now follows the image a bit more closely. We continue adding points until we are ready to close the fohtforge.
Page 5 of Then we close the path just by adding a new point on top of the old start point. Now we must make the curve track the image more closely, to do this we must adjust the control points the blue “x”es. To make all the control points visible select the pointer tool and double-click on the curve and then move the control points around until the curve looks right. Page 6 of Finally we set width.
Again flntforge the pointer tool, move the mouse to the width line on the right edge of the screen, depress and drag the line back to a reasonable location. Tutorjal we are done with this glyph. If you are mathematically inclined you may be interested in the coordinates that fontforge shows in the upper left of the window.
Generally you can draw glyphs quite happily without bothering about these, but for those who are interested here is some basic info: Each glyph has its own coordinate tutorkal. The vertical tutoria is the font’s baseline the line on which most latin letters rest The horizontal origin is the place where drawing the glyph will commence. In the example above what gets drawn initially is empty space, that is fairly common, and that empty space the distance from the origin to the left edge of the glyph is called the left side bearing.
The units of the coordinate system are determined by the em-size of the font. This is the tutoriwl of the font’s ascent and descent. In the example above the font’s ascent is and descent isand the ascent line the one just above the top of the “C” is units from the baseline, while the descent line is fontfogre below.
So a position ofas above means that the cursor is units right of the horizontal origin and units above the baseline or halfway between baseline and ascent. Page 7 of The font view provides one way of navigating around the glyphs in a font. Simple scroll around it until you find the glyph you need and then double click on it fontforve open a contforge looking at that glyph. Typing a glyph will move to that glyph. However some fonts are huge Chinese, Japanese and Korean fonts have thousands or even tutprial of thousands of glyphs and scrolling around the font view is a an inefficient way of finding your glyph.
If your font is a Unicode font, then this dialog will also allow you to find glyphs by block name ie. Hebrew rather than Alef. The simplest way to navigate fojtforge just to go to the next or previous glyph. Creating the letter “o” — consistent directions. In the previous example the bitmap of the letter filled the canvas of the image. And when FontForge imported the image it needed to be scaled once in the program.
But usually when you create the image of the letter you have some idea of how much white space there should be around it.
Creating Basic Fonts with FontForge Course
If your images are exactly one em high then FontForge will scale them automatically to be the right size. So in the following examples all the images have exactly the right amount of white-space around them to fit perfectly in an em.
Stages in editing “o”. Notice that the first outline is drawn clockwise and the second counter-clockwise. This change in drawing direction is important. Both PostScript and TrueType require that the outer boundary of a glyph be drawn in a certain direction they happen to be opposite from each other, which is a mild annoyancewithin FontForge all outer boundaries must be drawn clockwise, while all inner boundaries must be drawn counter-clockwise.
If fonntforge fail fontforgee alternate directions between outer and inner boundaries you may get results like the one on the left. If you fail to draw the outer contour in a clockwise fashion the errors are more subtle, but will generally result in a less pleasing result once the glyph has been rasterized. Page 8 of Early PostScript rasterizers used a “non-zero winding number rule” while more recent ones use an “even-odd” rule.
TrueType uses the “non-zero” rule. The description given above is for the “non-zero” rule. The “even-odd” rule would fill the “o” correctly no matter which way the paths were drawn though there would probably be subtle problems with hinting. Filling using the even-odd rules that a line is drawn from the current pixel to infinity in any direction and the number of contour crossings is counted. If this number is even the pixel is not filled. If the number is odd the pixel is filled.