User manual MACROMEDIA FONTOGRAPHER

[. . . ] Fontographer User's Manual Contents Introduction: What a Long, Strange Trip It's Been Introducing Fontographer How to get the most out of your Fontographer materials Tips icon Before you begin Getting started Read me. . . Registering your software to receive technical support Network Copy Protection Chapter One: Modifying Your Fonts Steps to modifying your font Opening a font Changing the character's weight Naming your font Saving your work Generating your font Installing the font Using the font Creating an oblique font Skewing multiple characters Creating a fraction using composite characters Unlinking a reference character Table of Contents Page #1 Fontographer User's Manual Creating a ligature Changing the character width Creating a condensed character or font Setting the basepoint Chapter Two: Creating New Fonts Autotracing Tracing an image Advanced tracing options Curve fit Allow curve fit errors Balance lines Eliminate close points Make straight lines Look for cusps Treat nearly flat paths as straight lines Find extrema points Transformation options Flip Move Rotate Scale Scale uniformly Skew Multiple transformations 3-D transformations using the Transform dialog Guidelines Setting guidelines Setting guidelines from the Font Info dialog Adding new guidelines Hiding guidelines Snap to guides Table of Contents Page #2 Fontographer User's Manual Creating a stroked font Outline vs. stroked characters Setting stroke attributes End caps and joins Expand stroke Clean Up Paths Creating calligraphic characters Calligraphic tutelage from Judith Sutcliffe Creating variable weight characters Blend Fonts to create new fonts When things go wrong. . . Jonathan Hoefler sez. . . Chapter Three: Altering Outlines Altering a logo Pasting EPS outlines from the clipboard Paths and points Closed paths Path direction and fills Normal fill Even/odd fill Correct path direction Reverse path direction Types of points Curve points Corner points Tangent points Selecting multiple points Changing a point type Inserting points Duplicating points Table of Contents Page #3 Fontographer User's Manual Power duplicating Removing points Splitting a path Splitting line segments Joining points Adding Serifs Merging points Moving a point Demagnified move Keyboard commands to move points: Accurate point placement Point and path preferences Path display Point display Show and hide control points Editing and placing BCPs BCP principles Dragging a control point's BCPs Dragging a curve point's BCPs Dragging a corner point's BCPs Dragging a tangent point's BCPs Retracting BCPs Auto Curvature Chapter Four: Editing Bitmaps Using the Bitmap Window The Bitmap Window Editing a bitmap The central edit area Ascent and descent values Offset and width values Visible layers Tools in the Bitmap Window Table of Contents Page #4 Fontographer User's Manual Undo and Redo Changing bitmap views Enlarging using the View Menu Switching characters in the Bitmap Window Next and previous character Next and previous point size When should you recalculate bitmaps? Preserving your original bitmaps Chapter Five: Metrics: Spacing and Kerning Spacing Pair kerning Auto Spacing Auto Kerning The Metrics Window Character display The spreadsheet area Importing Metrics Clearing kerning pairs Exporting Metrics The Fontographer Metrics file Copying widths More powerful spacing and kerning commands Set Width Equalize Sidebearings Advanced Metrics operations Set Metrics Assisted Metrics Table of Contents Page #5 Fontographer User's Manual Metrics Assistance Kerning Assistance Advanced Auto Spacing Advanced Auto Kerning Chapter Six: Printing Sample text Sample file PostScript file Key map Kerning pairs Characters The print header Chapter Seven: Generating and Exporting Fonts Before you do anything. . . Easy or Advanced? Macintosh fonts PostScript Type 1 The PostScript ID Field TrueType Include vertical and horizontal hints Include diagonal hints Dropout prevention Character mapping PostScript Type 3 Other Type 3 Formats None Encoding Options When should you use Hints? [. . . ] This time, choose the Bold style, which in this example is "NovaBold. " Once you have accepted the file selection dialog box, the name "Nova-Bold" appears next to the Bold button, and the Save Family button becomes active. This is because you could save the family at this point and be finished. This is useful when you don't have all four styles to merge into a family. Style Merger bolds the Italic button next, so just choose "Nova-Oblique" as the italic face, and "NovaBoldOblique" for the bold italic face. If you look at the Style Merger window, you can see that each style button has a name beside it, indicating that you can build a complete family now. And sure enough, Style Merger has bolded the Save Family button to tell you to do so. When you click on that button, a dialog box appears asking where you want to save the family and what it should be called. Typically, Style Merger suggests names like "Nova-Normal. fam. " This will be the name of the suitcase file Style Merger creates. The part of the name before the period is what the font will be called in your font menus (it becomes the name of the FOND resource). For instance, if you accept the name "Nova-Normal. fam, " Style Merger creates a file named "Nova-Normal. fam, " and when you install that new family, you'll see "Nova-Normal" in your font menus. If you want to see just "Nova" you should tell Style Merger to save the family as "Nova. fam. " After you press "OK" in the standard file dialog box, Style Merger builds the family and saves it. Then it cleans out all the font selections, and is ready to build another family. The window now looks exactly as it did when the program first started. To do 8: Creating a Font Family Page #5 Fontographer User's Manual If you just want to build one family, you can quit now. To do so, type "Command-q, " choose "Quit" from the File menu, or simply click in the close box of Style Merger's window. If you want to create more families, you can leave Style Merger running to make some more. Things you should know about Style Merger Style Merger won't prevent you from choosing incorrect faces for particular styles. For instance, you could be a wise guy and tell Style Merger to use Nova-Bold for the italic face. Your family will work just the way you set it up, but it would be a little confusing. It could be called a "dysfunctional family, " or one that boldly goes where no italic has gone before. Important: Please, do yourself a favor and always make sure the fonts you use to build families with are not installed. Always close any fonts installed with Suitcase, Master Juggler, Font Porter or whatever you installed them with; then build your family and reinstall your fonts. If you are using Style Merger and notice that the little suitcase icons change from capital "A's" to "B's", that means that the font you have just chosen was already installed. [. . . ] Since script is difficult to read, its use should be limited to a few lines at a time. Early script typefaces were developed in the sixteenth century, and were based upon formal cursive handwriting. Scroll bar: The window bars containing arrows that allow the document to be moved so that other parts of it become visible. Set-width: The width of a letter and its surrounding space; the space needed to set a line of text in a specific typeface. [. . . ]