Windows users, your font editor of tomorrow is nearly ready! For all you Windows users who have been patiently waiting for something new and better than FontLab Studio 5, there is now a Windows version of the free FontLab VI Public Preview. (Plus an updated Mac Public Preview.)
Visit fontlab.com/vi, learn about the features, register and download FontLab VI Public Preview for Windows now! Once you’ve downloaded and installed it, you can use its current full functionality. The current build will expire by the end of the month, but you will be notified of a new Public Preview build via the built‐in auto‐update system. FontLab VI Public Preview will remain free until we ship the final app!
FontLab VI is our next‐generation professional font editor, crafted for type designers and font geeks. Five years in the making, we’re still putting finishing touches on it. It’s a massive upgrade over FontLab Studio 5, and remains the only true cross‐platform type design and font creation app. With FontLab VI, you get the same high performance, clean user interface, and innovative font making tools on Mac OS X and Windows.
What’s new in FontLab VI?
Seasoned FontLab Studio 5 users will find lots of familiar elements in FontLab VI, but we’ve carefully upgraded and polished each of them. The new Font Window allows for visual sorting, smart searching and filtering, and provides a table view that exposes lots of numerical glyph data. We’ve unified the Glyph Window and Metrics Window so you can access the Metrics and Kerning tools right from the main app toolbar. We’ve renamed the Class panel into the Groups panel, but it remains the home for Kerning and OpenType groups.
In place of the limited Components, FontLab VI introduces Cloned Shapes that keep bidirectional live links between contours that appear in different glyphs. FontLab VI still has the View, Transform, OpenType Features and Python Scripting panels, but we’ve redesigned each of those functions so you can achieve your goals faster.
FontLab VI also brings a lot of brand‐new functionality. You can automatically Create Overlaps and even attach TrueType Hinting commands to PostScript outlines. You can scale your contours up and down or slant them back and forth losslessly thanks to FontLab VI’s internal fractional coordinate system. We’ve invented new contour design tools: the superfast Rapid drawing tool, Tunni Lines and Genius points for better curvature control; the Fill tool that lets you forget about path direction and allows you to simply turn contours or intersection areas black or white; the Power Brush for quick prototyping of calligraphic strokes; and the awesome Power Nudge mode that lets you typographically correctly condense, expand or transform your contours in a fraction of the time.
FontLab VI supports all of Unicode 9, including color emoji, and all of OpenType 1.8, including Arabic or Indic shaping as well as color and variable OpenType fonts. Speaking of variable fonts: in this build, you cannot yet generate them, but you can open them, and you can set up an unlimited number of font‐wide or per‐glyph Masters in a MutatorMath‐ and OpenType Variations‐compatible design space, which is backwards‐compatible with FontLab Studio 5’s Multiple Master model but much more flexible.
FontLab VI has unlimited glyphs, unlimited layers, multi‐line multi‐glyph editing, full color support, tag‐based multi‐glyph guides and zones, Anchor-based mark attachment, complex metrics linking via expressions, and the list goes on and on. And you can convert between various font formats, including .ttf, .otf, .vfb, .ufo, .glyphs, and all the color OpenType fonts such as OpenType+SVG.
What’s the Public Preview for Windows?
With the FontLab VI Public Preview, you get the full current functionality for free until we ship the final version. You can create, open, edit and generate fully‐functioning OpenType fonts, you can turn your images or Illustrator artwork into fonts, you can do spacing, kerning, hinting. And you can use FontLab VI Public Preview alongside of your other tools such as FontLab Studio 5, Fontographer or RoboFont.
Because we develop FontLab VI on a cross‐platform framework, the feature set of the Public Preview for Windows is practically identical to the established Mac version, and we expect only a few platform‐specific bugs, likely largely interface‐related (most other bugs that occur are cross‐platform).
The Windows version of FontLab VI is a 32‐bit app that runs on both 32‐ and 64‐bit versions of Windows XP through to Windows 10. We have specifically tested it on Windows XP, 7 and 10. When we release new builds of the Public Preview, you will be notified via the built‐in auto‐update mechanism.
Some keyboard shortcuts in the menus are marked with a “Meta” modifier key. They are not accessible. The Mac has three modifier keys: “Ctrl,” “Alt” and “Cmd,” while Windows computers only have two that can be used by app developers: “Ctrl” and “Alt”. We’re working hard on providing sensible keyboard shortcuts for our Windows users, but this will take a while yet!
Just a quick note to say that we have done spot testing of our current Mac apps with macOS 10.12 Sierra, and we have seen no new issues so far. We have also had no bug reports from users so far that turned out to be Sierra specific, either. So as far as we can tell, there are no such issues!
Moments ago, at the ATypI conference in Warsaw, representatives from Google, Microsoft, Apple and Adobe unveiled version 1.8 of the OpenType specification, featuring a surprise in the form of variable fonts (a.k.a. OpenType Variations). This is an extension and updating of the 1990s GX Variations technology invented by Apple, and a functional superset of Adobe’s Multiple Master technology.
Links which should all be live shortly if they are not already:
The variable fonts enabled by this technology will offer more freedom to type designers and font users, and smaller file sizes for packaging font families. Type designers can enable one or more axes of variation, such as weight, width, or optical size. These can be done with true typographic finesse — we’re not talking artificial stretching and automatic algorithms.
FontLab has already recently begun work on integrating support for variable OpenType fonts in FontLab VI. Indeed, sharp‐eyed users of the most recent FontLab VI Public Preview builds may note that they already contain a “Variations” panel, which already features some of the key flexibilities allowed by variable fonts but not in, say, Multiple Master: masters at any point in the design space, and potentially many more design axes. FontLab VI will ship with some degree of OpenType Variations support, and we will continue work on OpenType Variations afterwards, both for FontLab VI and other products.
Variations panel prototype from FontLab VI (build 6101)
Long‐time type industry watchers might be aware that FontLab was the first font editor to offer designers a full visual environment for working with Adobe’s Multiple Master technology. I did my own Master’s thesis in this area, and FontLab’s Adam Twardoch has been suggesting for several years, to anyone who would listen, how it wouldn’t be hard to add GX Variations to OpenType.
So needless to say, the FontLab team is very excited to see the unveiling of this new technology, and is fully supportive of this announcement. I have already written an article for Communication Arts magazine about OpenType Variations and what it means for designers, and next week I will be talking about it at the WebVisions conference in Chicago. You can already see the seeds in our latest FontLab VI Public Preview, and there is more to come!
If you have a public preview build from within the last month, just launch it, and use the built‐in auto‐update feature. This should work even after the build expires at the end of the month.
Otherwise, you can sign up for the Public Preview on the main FontLab VI page, and that will automatically send you an email with a link to the newest Public Preview download. Yes, this will work even if you already signed up before.
Better Glyph Point Placement for Better Fonts
with Thomas Phinney
Tuesday 9 February 2016 9:00 am Pacific / noon Eastern / 18.00CEST FREE Live Webinar Register now
Learn how to construct better outlines for fonts, and why it matters.
Make your fonts render quicker and better on screen, and your glyphs easier to edit.
Discover why so many designers think they have points at extrema when they don’t.
Note: to submit a font for live feedback during the webinar, write to “info” at the obvious domain (fontlab.com).
Why outlines matter
What to do
Tools for Better Outlines
LIVE feedback and example outline corrections on several real users’ fonts
Thomas Phinney is a type designer, educator, and font geek who used FontLab for 20 years before joining FontLab in 2014, and becoming President in 2015. Previously he worked at Extensis (web fonts and font management tools) and Adobe (product manager for global fonts and typography). Thomas teaches typeface design with Crafting Type, and has been a repeat guest lecturer for MA Typeface Design at the University of Reading. He is also secretary of ATypI, the international typography association. His typeface Hypatia Sans is an Adobe Original with over 3000 glyphs per font.
There are a limited number of seats available for this webinar, so don’t be disappointed: Register now
We’ve just posted a FontLab VI update, Public Preview 2 (build 5844) for Mac, because the initial public preview just expired on December 31st, 2015. We still don’t call this a “beta”; that would imply being feature complete and fairly stable. We are not there yet!
UPDATE: This sale was Nov 30 – Dec 1, 2015. Sorry you missed it!
Yes, as a Cyber Monday special, we just marked down our flagship program, FontLab Studio 5. Regular price isUS $649, now $324.50. Student/teacher pricing is also halved: regular US $325, now $162.50. Upgrades to FLS5 from older/other FontLab products are also half price!
Plus, effective immediately, all new permanent licenses of FontLab Studio 5, from now until we ship FontLab VI, will qualify for a free upgrade to FontLab VI! Yes, that includes upgrades and academic orders.