FontLab VI version 6.1.0 is now available as a free update to FontLab VI. This major update includes numerous new features, many tiny enhancements to make things work more intuitively, as well as countless bug fixes. This article covers major highlights, and gives brief explanations for some of them. We have another blog post that gives a detailed description of the font filters, components and metrics improvements, and our release notes describe all other improvements and bug fixes.
Design: Components, improved Metrics expressions, Nonspacing components, Measurements panel, X‐Ray view, display lengths and angles while drawing
Font Window: Sidebar, Filters, better character placeholders
Variations: Matchmaker enhancements, better kerning coordination across masters, Smart rounding, custom Family names for individual instances
Technology: Source panel, VFJ format improvements, customizable location of your user data, layer merging, improvements in TrueType Hinting and OpenType feature editing
The 30‐day trial restarted: Don’t have FontLab VI yet and your previous 30‐day trial run expired? We have restarted the trial period for the 6.1 update, so you can download FontLab VI and enjoy it again for a month! Buy or try it at https://fontlab.com/VI
FontLab VI is on sale for just $459 instead of $689 — 1/3 off until August 31! Buy FontLab VI now, and you’ll be drawing type, kerning or hinting faster and easier than ever, so you can spend more time in the sun.
FontLab VI, our radically re‐thought, “ultra bold” font editor, is already packed with functionality that lets you create variable fonts, color fonts and large font families with ease, and it’s getting better all the time!
Many of you who have tried or bought FontLab VI have praised how quickly and precisely you can draw new glyphs. The new FontLab VI6.0.7 update adds major new features that help you complete your fonts faster:
Auto glyphs: extend and complete the character set faster with our new smart composite glyphs that build accented letters on the fly and keep their look, positioning and metrics up‐to‐date.
Cousins: draw and edit your glyphs while you see related letters in the background for reference, and quickly switch between them.
Improved geometric transformations: decide if you want to scale, rotate or slant all references or just the base glyphs.
New property bar for the Text mode: type basic letters and quickly get to their accented variants or alternate glyphs.
Pixel‐perfect rendering: with sharper outlines, nodes and guides in the Glyph window, perhaps you don’t need those glasses quite yet.
FontLab VI6.0.7 also includes improvements in handling Elements, glyph names and Unicode, FontAudit, contour editing, plus user interface tweaks and many bug fixes — see the release notes for a full list.
Work from wherever you want, whenever you want. One weekly (virtual) meeting. Part‐time, paid at an hourly rate.
Apply to: “thomas” at the obvious domain.
QA or Quality Assurance is software industry jargon for “testing software so it doesn’t suck.” This part‐time position will help test, log and reproduce bugs with FontLab VI, currently in Public Preview. The app has been rebuilt from scratch, the interface is new, and there are many new features — hence many possibilities for bugs. This job is ideal for someone who has some experience with FontLab Studio 5 and is learning VI.
There is plenty to be done at FontLab, and an energetic candidate with varied skills and interests will be given other tasks if they want them! Given the right candidate, this position could be combined with one or both of our other part‐time positions: doc writer and tech support.
Monday September 22 is your last day to get the incredibly powerful and useful OTMaster 3.7 font editing tool from our friends at Dutch Type Library and URW++ is 50% off! For even more savings, you can save 25% on Fontographer 5 in a bundle with OT Master at half off!
From now until the end of August September 21, the incredibly powerful and useful OTMaster 3.7 font editing tool from our friends at Dutch Type Library and URW++ is 50% off! For even more savings, you can save 25% on Fontographer 5 in a bundle with OT Master at half off!
DTL OTMaster is a technical font viewer and editor that allows in‐depth examination and fine low‐level tuning of any OpenType font, TrueType font or TrueType Collection. Because of its non‐invasive nature, DTL OTMaster allows type designers and font developers to make small modifications to specific parts of an .otf, .ttf or .ttc font without changing other aspects of the font. It can also serve as an excellent font testing tool. Professional font users benefit from OTMaster’s ability to examine the fonts’ inner structures, and to fix some common technical problems. Software vendors and developers will find DTL OTMaster an indispensable tool that will aid their globalization and internationalization efforts.
Fontographer5.2 is our font editor for designers, easier than ever to use, but with industrial‐strength FontLab technology under the hood.
Both OTMaster and Fontographer are available on both Mac OS X and Windows.
Thank you to all of you who took our latest survey — over 650 of you! We have been crunching numbers and reading your comments and feedback religiously.
We gave away three big prizes via random drawings!
Our First Prize winner is Dimitri Fontaine of Graphic Identité in Nantes, France. They are a design agency specializing in identity, branding and packaging, as well as industrial design — and yes, that really is his last name. They use Fontographer, more to modify, improve and complete existing fonts than design entirely new ones. They will use the prize to get an additional license for Fontographer, including future upgrades.
Our Second Prize winner is Iván Moreno of México. Ivan already uses FontLab Studio, so he is going to save his prize to use to upgrade to version 6 when it comes out. He looks forward to produce commercial and professional fonts for custom and retail use when he finishes his Master’s degree in type design from Centro de Estudios Gestalt, Veracruz, México (Maestría en Diseño Tipográfico), and says this prize is “just what he needed.”
Our Twitter Prize (for somebody who tweeted about the survey) goes to Cristóbal Henestrosa of Estudio CH, also in Mexico. Cristóbal is a graphic designer and an established type designer, having been recognized in the TDC competitions in 2008 and 2010. His last typeface was Soberana, a custom typeface for use throughout the Mexican government, created in collaboration with Raúl Plancarte, using FontLab Studio. He will also use his prize for a future upgrade.
Although we didn’t get to 1000 responses to trigger the grand prize, we were happy to see so many responses. Thanks again to everyone who participated and gave us useful feedback!
Port Angeles, WA, May 1, 2014 — FontLab announced today that Thomas Phinney has joined the company as its Vice President. Mr. Phinney brings more than 15 years of experience in digital fonts, type design, product management and working with type designers to FontLab, where he will initially assume responsibility for customer relationships, evangelism and distribution for the company, as well as advising on product development and processes.
Phinney spent his last five years at Extensis as Senior Product Manager for Fonts and Typography, dealing with web fonts and font management solutions. Prior to that, he was at Adobe Systems from 1997 to 2008, ultimately as Product Manager for Fonts & Global Typography, where his work included evangelizing best practices for font creation and coordinating and evangelizing the OpenType font format standard. He is involved in the technical, design, historical, forensic and business aspects of fonts.
Phinney is also a board member of ATypI, the International Typography Association, a frequent speaker at font and typography conferences, and a regular contributor on fonts and typography to Communication Arts magazine. He has an MBA from UC Berkeley, and an MS in Graphic Arts Publishing, specializing in Design & Typography, from RIT.
“Thomas will be an invaluable addition to our team.” said Ted Harrison, President of FontLab. “His wide experience, extensive connections, effective management style, and depth of knowledge made him the best candidate for this job. We’re very happy to welcome him to Fontlab.”
For over 20 years, Fontlab Ltd., doing business as FontLab, has stayed at the forefront of digital font software by remaining devoted to developing advanced font editors and digital type products. Their full line of products is dedicated to solving the most complex digital type issues. These products include: BitFonter, FogLamp, FontLab Studio, Fontographer, ScanFont, TypeTool, TransType, FontFlasher, FONmaker, SigMaker and CompoCompiler. More information on all FontLab products can be seen at www.fontlab.com.
In our first cyber Monday sale ever Fontlab is going to cut the price of TypeTool, our basic font editor, by half. Now’s your chance to get a great holiday present for budding type designers — kids, friends, family, etc.- (or for yourself) at the lowest cost ever. For just US$47.99 you’ll get the full Macintosh or Windows version of the font editor used by hundreds of colleges and universities — and with our standard 60‐day money back, can’t lose, guarantee.
On Monday, 2 December 2013, just click here to place your order at this fantastic price!
Although Fontlab Ltd. debuted the Photofont technology some 8 years ago, the typographic community did not show much interest for multi‐color fonts or typography. In 2013, it changed. Actually, this started a few years ago with Apple introducing the color emoji font into iOS, and then Mac OS X 10.7. Now, all major industry players (Apple, Adobe, Mozilla, Google and Microsoft) have proposed their formats, which aim to extend the OpenType font format by the ability of including color glyph information. The proposals differ in many aspects. Below is a discussion of the proposals along with some personal comments.
This article is very technical. No completeness or correctness of the information presented below, and all views are personal.
The video tutorial by Adam Twardoch accompanies this article by providing a more practical take on color font creation issues.