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Table Of Contents

The key role of Fontographer in the font revolution
This is an evolving on-demand book
Welcome!
Defining typography
Some type terminology
How do you draw with paths?
It will take a little practice
Type drawing tools
The Fontographer Toolbox
The transformation tools
The Key is in the keypad
The Pen Tool
Composite paths
Your assignment for now
Now it’s time to begin
A revised decorative font
The Font Info dialog
Using the Layers palette
Setting up your workspace
Modifying a font
Building a pieces glyph
Pasting in the components
Fixing all the special characters
So, it’s done!
Moving on: a new font
Setting up the font
Doing the caps
Developing a work style
Doing the lowercase
Fixing the lowercase b
Moving to the d
If you do not like my serifs or weight decisions
Finishing the lowercase
Letterspacing
Looking at letterspacing conceptually
Auto-spacing in Fontographer
If you are going to sell your fonts
Accents (diacritics) and composites
Currency glyphs & other specialities
Ligatures
Auto Kern settings
Dealing with the small caps
Finishing the font
Fixing the rough glyphs
Doing a bold version
This is where you find out how well you drew the original font
Dealing with the different weights
I did design a bold version
Adding an italic
Generating a font
Web fonts
Beginning a new font of your own
Type Classifications
A practical approach to classifying fonts
Lapidary:
Inscriptional:
A practical list
The entire oldstyle period
Sans serif classifications
Current fashion
Mimicking handwriting
Starting to draw a new font
Dealing with scans & stuff
Developing a standard procedure
Letter construction tips
Number construction tips
Appendix A: Advanced Letterspacing
Hand letterspacing fonts
Fontographer’s Metrics panel
Letterspacing as you draw
Conforming your options to reality
Using the Metric Panel
Some letterspacing tips
Appendix B: Dealing with OpenType & Resources
Fontographer’s manual has good help
Index
P. 1
Fontographer: Practical Font Design for Graphic Designers

Fontographer: Practical Font Design for Graphic Designers

Ratings: (0)|Views: 2,482 |Likes:
Published by David Bergsland
Book is too large to view well on Scribd
_____________
Why do you want to use Fontographer?
For the fun of it!
When I received the opportunity to go back to my roots, and see what the new Fontographer was like, I was a little concerned. I had just spent nine years painfully teaching myself to letterspace by hand, to write OpenType features, and to become accustomed to the tool set of FontLab. Don’t get me wrong, FontLab is a great program and I am grateful for what I have learned. There are still a few features of FontLab that, as a professional font designer, I cannot do without. But I was taken by surprise.
Fontographer brought the fun back!
It is still the same marvelous program with which I first learned to design fonts. The drawing interface is still clean, clear, and elegant. I still works the way I have learned to work over the past two decades of digital graphic design. I found pure joy in drawing again. Fontographer is a wonderful drawing experience. It has been a real joy to experience that fun again. After nearly a decade in FontLab, font design is fun again.
To quote from the book:
“Fontographer is an application which appeals to experienced graphics designers with a background in PostScript illustration… The majority of designers working in the mid-1990s had a copy of Fontographer…and everyone probably used it [at least a little].
Fontographer had [and still has] a unique and intuitive set of drawing tools that enable amateurs of that era to enter the world of font design. I’m talking amateurs in the sense that John Baskerville considered himself an amateur—as I also consider myself, though I am certainly not in Baskerville’s league. For me, font design is a beloved sideline with which I indulge myself. It’s become a treasured tool I use in my current trade—book writing, designing, and production.”
Book is too large to view well on Scribd
_____________
Why do you want to use Fontographer?
For the fun of it!
When I received the opportunity to go back to my roots, and see what the new Fontographer was like, I was a little concerned. I had just spent nine years painfully teaching myself to letterspace by hand, to write OpenType features, and to become accustomed to the tool set of FontLab. Don’t get me wrong, FontLab is a great program and I am grateful for what I have learned. There are still a few features of FontLab that, as a professional font designer, I cannot do without. But I was taken by surprise.
Fontographer brought the fun back!
It is still the same marvelous program with which I first learned to design fonts. The drawing interface is still clean, clear, and elegant. I still works the way I have learned to work over the past two decades of digital graphic design. I found pure joy in drawing again. Fontographer is a wonderful drawing experience. It has been a real joy to experience that fun again. After nearly a decade in FontLab, font design is fun again.
To quote from the book:
“Fontographer is an application which appeals to experienced graphics designers with a background in PostScript illustration… The majority of designers working in the mid-1990s had a copy of Fontographer…and everyone probably used it [at least a little].
Fontographer had [and still has] a unique and intuitive set of drawing tools that enable amateurs of that era to enter the world of font design. I’m talking amateurs in the sense that John Baskerville considered himself an amateur—as I also consider myself, though I am certainly not in Baskerville’s league. For me, font design is a beloved sideline with which I indulge myself. It’s become a treasured tool I use in my current trade—book writing, designing, and production.”

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Categories:Types, Maps
Published by: David Bergsland on Oct 28, 2011
Copyright:Traditional Copyright: All rights reserved
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