Fonts and Video Collide: Kinetic Typography

Fonts, when used well, can be absolutely beautiful. However when many people think of typography, they likely envision some sort of poster or graphic design, or perhaps even web design. That said, there is something that makes fonts especially wonderful in video as the power of kinetic typography brings words and letters to life through movement.

Below are some examples of a few of our favorite fonts given the kinetic typography treatment. If you’d like to learn more about fonts check out Typekit, which will be included in the Creative Cloud membership.

Rockwell by Jordan Clarke

Rockwell from Jordan Clarke on Vimeo.

Futura Le Specimen Animé by Thibault de Fournas

FUTURA LE SPECIMEN ANIMÉ from Thibault de Fournas on Vimeo.

Helvetica in Motion by Positive Pictures

Helvetica In Motion from Positive Pictures on Vimeo.

Franklin Gothic Animation by Daniel Götz

Franklin Gothic Animation from Daniel Götz on Vimeo.

Museo by Grooverapist

museo from Grooverapist on Vimeo.

Dinastia Didot

Dinastia Didot from Carlos Augusto on Vimeo.

View the original article here

Leveraging AFDKO Tools to Convert Name-keyed OpenType Fonts to CID-keyed — Part 2

Part 2 of this series will demonstrate how AFDKO tools can be used to specify multiple FDArray elements (aka, hint dictionaries) when converting name-keyed fonts into CID-keyed ones. The same technique can be used to convert a CID-keyed font with a single FDArray element into one with multiple FDArray elements.

The sample font in Part 1 of this series does not have enough script “richness” to demonstrate this technique, so I crafted a different sample font for demonstration purposes. Again, the technique is easily scalable, and can thus handle thousands or tens of thousands of glyphs.

Someone kindly pointed out that I failed to do one important thing in Part 1 of this series, specifically to enumerate reasons why one would want to convert a name-keyed OpenType font into a CID-keyed one. So, before I begin Part 2 in earnest, I will provide three benefits of CID-keyed fonts:

Up to 256 FDArray elements can be specified, and each can have its own hinting parameters, meaning alignment zones (/BlueValues and /OtherBlues arrays), stem values (/StdHW and /StdVW values, and /StemSnapH and /StemSnapV arrays), and /LanguageGroup setting. Explicit control over the mapping from character codes, such as Unicode, to glyphs is possible through the use of a CMap resource. Name-keyed fonts use glyph names to drive the mapping from character codes to glyphs, which is implicit control. If the glyph set corresponds to an existing CID-keyed character collections, or is a subset thereof, that character collection’s resources can be leveraged to ease font development.

The AFDKO mergeFonts tool is used to specify multiple FDArray elements, which is done through the use of multiple mergeFonts mapping files (at a minimum, one per FDArray element) and by specifying the FDArray element name as the argument for the “mergeFonts” text that is the first line of the mergeFonts mapping file. The /LanguageGroup setting can also be specified as a second argument. Click here to download an archive that includes the various files and resources that are referenced in this article, including the original name-keyed Type 1 font (named font.pfa).

Consider the name-keyed Type 1 font, font.pfa, that includes the following 48 glyphs:

.notdef
space
A
B
C
D
E
F
a
b
c
d
e
f
uni3000
uni3001
uni3002
uni3041
uni3041v
uni3042
uni3043
uni3043v
uni3044
uni3045
uni3045v
uni3046
uni30A1
uni30A1v
uni30A2
uni30A3
uni30A3v
uni30A4
uni30A5
uni30A5v
uni30A6
uni30FB
uni4E9C
uni54C0
uni5516
uni5A03
uni611B
uni963F
uniFE10
uniFE11
uniFE12
uniFF0C
uniFF0E
uniFF0Ev

In addition to mapping these glyph names to Adobe-Japan1-6 CIDs, we will also arrange them into five FDArray elements, mainly based on glyph class.

Step 1: Create the mergeFonts Mapping Files

The character coverage of this sample font corresponds rather nicely to the Adobe-Japan1-6 character collection (see Adobe Tech Note #5078), specifically to a tiny subset of the /Supplement 0 portion. After a mapping to Adobe-Japan1-6 CIDs is established, it can be used to construct the following five mergeFonts mapping files, which effectively separate the glyphs into separate FDArray elements based on glyph class, script, or usage:

generic.map:

mergeFonts KozGoAJ10-ExtraLight-Generic 1
0 .notdef

proportional.map:

mergeFonts KozGoAJ10-ExtraLight-Proportional 0
1 space
34 A
35 B
36 C
37 D
38 E
39 F
66 a
67 b
68 c
69 d
70 e
71 f

dingbats.map:

mergeFonts KozGoAJ10-ExtraLight-Dingbats 1
633 uni3000
634 uni3001
635 uni3002
636 uniFF0C
637 uniFF0E
638 uni30FB
7887 uniFE11
7888 uniFE12
8268 uniFE10
8274 uniFF0Ev

kana.map:

mergeFonts KozGoAJ10-ExtraLight-Kana 1
842 uni3041
843 uni3042
844 uni3043
845 uni3044
846 uni3045
847 uni3046
925 uni30A1
926 uni30A2
927 uni30A3
928 uni30A4
929 uni30A5
930 uni30A6
7918 uni3041v
7919 uni3043v
7920 uni3045v
7928 uni30A1v
7929 uni30A3v
7930 uni30A5v

kanji.map:

mergeFonts KozGoAJ10-ExtraLight-Kanji 1
1125 uni4E9C
1126 uni5516
1127 uni5A03
1128 uni963F
1129 uni54C0
1130 uni611B

It is important to note that the argument after the “mergeFonts” text in the first line of each mergeFonts mapping file specifies the name of an FDArray element. Thus, if two different mergeFonts mapping files specify the same argument, the glyphs will share the same FDArray element. Here are the FDArray element names:

KozGoAJ10-ExtraLight-Generic
KozGoAJ10-ExtraLight-Proportional
KozGoAJ10-ExtraLight-Dingbats
KozGoAJ10-ExtraLight-Kana
KozGoAJ10-ExtraLight-Kanji

Step 2: Create the CIDFont Resource

As soon as the mergeFonts mapping files and a “cidfontinfo” file are prepared, the following mergeFonts command line can be executed to produce a CIDFont resource named “cidfont.raw” that has five FDArray elements:

% mergeFonts -cid cidfontinfo cidfont.raw generic.map font.pfa proportional.map font.pfa dingbats.map font.pfa kana.map font.pfa kanji.map font.pfa

The AFDKO tx tool can be used to verify that there are indeed five FDArray elements (shown after “## FontDict[*]” lines), and what their hinting parameters are:

% tx -0 cidfont.raw
## Filename cidfont.1
## Top Dict
Notice "Kozuka Gothic is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/or other co"
FullName "Kozuka Gothic AJI0 OpenType ExtraLight"
FontBBox {0,-95,964,841}
XUID {1,11,9273858}
cid.CIDFontName "KozGoAJ10-ExtraLight"
cid.Registry "Adobe"
cid.Ordering "Japan1"
cid.Supplement 0
cid.CIDFontVersion 1.000
cid.CIDCount 8275
sup.flags 0x00000001 (ABF_CID_FONT)
sup.srcFontType Type 1 (cid-keyed)
sup.nGlyphs 48
## FontDict[0]
FontName "KozGoAJ10-ExtraLight-Generic"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 50
StdVW 50
LanguageGroup 1
## FontDict[1]
FontName "KozGoAJ10-ExtraLight-Proportional"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 50
StdVW 50
## FontDict[2]
FontName "KozGoAJ10-ExtraLight-Dingbats"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 50
StdVW 50
LanguageGroup 1
## FontDict[3]
FontName "KozGoAJ10-ExtraLight-Kana"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 50
StdVW 50
LanguageGroup 1
## FontDict[4]
FontName "KozGoAJ10-ExtraLight-Kanji"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 50
StdVW 50
LanguageGroup 1

The tx tool can also be used to verify per-CID FDarray element assignment (the “iFD” value) in text form:

% tx -1 cidfont.ps
(removed lines that are the same as when specifying the “-0? option)
## glyph[tag] {cid,iFD,LanguageGroup}
glyph[0] {0,0,1}
glyph[1] {1,1,1}
glyph[2] {34,1,1}
glyph[3] {35,1,1}
glyph[4] {36,1,1}
glyph[5] {37,1,1}
glyph[6] {38,1,1}
glyph[7] {39,1,1}
glyph[8] {66,1,1}
glyph[9] {67,1,1}
glyph[10] {68,1,1}
glyph[11] {69,1,1}
glyph[12] {70,1,1}
glyph[13] {71,1,1}
glyph[14] {633,2,1}
glyph[15] {634,2,1}
glyph[16] {635,2,1}
glyph[17] {636,2,1}
glyph[18] {637,2,1}
glyph[19] {638,2,1}
glyph[20] {842,3,1}
glyph[21] {843,3,1}
glyph[22] {844,3,1}
glyph[23] {845,3,1}
glyph[24] {846,3,1}
glyph[25] {847,3,1}
glyph[26] {925,3,1}
glyph[27] {926,3,1}
glyph[28] {927,3,1}
glyph[29] {928,3,1}
glyph[30] {929,3,1}
glyph[31] {930,3,1}
glyph[32] {1125,4,1}
glyph[33] {1126,4,1}
glyph[34] {1127,4,1}
glyph[35] {1128,4,1}
glyph[36] {1129,4,1}
glyph[37] {1130,4,1}
glyph[38] {7887,2,1}
glyph[39] {7888,2,1}
glyph[40] {7918,3,1}
glyph[41] {7919,3,1}
glyph[42] {7920,3,1}
glyph[43] {7928,3,1}
glyph[44] {7929,3,1}
glyph[45] {7930,3,1}
glyph[46] {8268,2,1}
glyph[47] {8274,2,1}

Step 3: Apply Hinting Parameters

Of course, it doesn’t make much sense for multiple FDArray elements to share the same hinting parameters, so after adjusting the hinting parameters to be appropriate values and running the AFDKO autohint tool to apply them, the tx output is different:

% tx -0 cidfont.ps
tx: --- cidfont.ps
## Filename cidfont.ps
## Top Dict
Notice "Kozuka Gothic is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/or other co"
FullName "Kozuka Gothic AJI0 OpenType ExtraLight"
FontBBox {0,-95,964,841}
XUID {1,11,9273858}
cid.CIDFontName "KozGoAJ10-ExtraLight"
cid.Registry "Adobe"
cid.Ordering "Japan1"
cid.Supplement 0
cid.CIDFontVersion 1.000
cid.CIDCount 8275
sup.flags 0x00000001 (ABF_CID_FONT)
sup.srcFontType Type 1 (cid-keyed)
sup.nGlyphs 48
## FontDict[0]
FontName "KozGoAJ10-ExtraLight-Generic"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 50
StdVW 50
LanguageGroup 1
## FontDict[1]
FontName "KozGoAJ10-ExtraLight-Proportional"
## Private
BlueValues {-12,0,536,548,756,767}
OtherBlues {-234,-222}
StdHW 31
StdVW 35
## FontDict[2]
FontName "KozGoAJ10-ExtraLight-Dingbats"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 29
StdVW 29
StemSnapH {12,29}
LanguageGroup 1
## FontDict[3]
FontName "KozGoAJ10-ExtraLight-Kana"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 32
StdVW 32
StemSnapH {17,32}
LanguageGroup 1
## FontDict[4]
FontName "KozGoAJ10-ExtraLight-Kanji"
## Private
BlueValues {-250,-250,1100,1100}
StdHW 30
StdVW 30
StemSnapH {12,30}
LanguageGroup 1

Step 4: Build the OpenType Font

This CIDFont resource declares the Adobe-Japan1-0 ROS, meaning that existing Adobe-Japan1-6 resources, such as the “UniJIS-UTF32-H” or “UniJIS2004-UTF32-H” CMap resources for building the ‘cmap’ table, and ‘GSUB’ features, can be leveraged. This simplifies development, because these resources can be used, either as-is (CMap resources) or in modified form (‘GSUB’ features). The “FontMenuNameDB” and “features” files still need to be created. The following AFDKO makeotf command line will produce a fully-functional OpenType font:

% makeotf -f cidfont.ps -r

Please stay tuned for Part 3 in this series…

View the original article here

LiveCycle Forms ES: Select which fonts get embedded at render-time

LiveCycle Forms ES: Select which fonts get embedded at render-time « David McMahon function clearSearch() {document.search_form.s.value = "";} adobe.com      David McMahon / LiveCycle Forms ES: Select which fonts get embedded at render-timeby dmcmahonalwaysEmbed (1)Embedding (1)Font (1)neverEmbed (1)  

View the original article here

Fonts: Travel and tails - best practices

Now that you understand the basics of fonts, we take a crack on some basic font tags and practices:

How make sure your fonts travel with YouPrint or screen: select the correct font for the JobConsider your audience: notes to the go overboard

If you install new fonts, will you work each font only with the computer, it installed have. If you want to Office documents with other people (why all this goodness for you keep?) or use, or view your documents on a different computer, not the same way on the other computer could be shown to the new fonts that you have so carefully selected, so that you (and your audience) bitter and confused.

What is the fix? You can on the other computers being used, install the new font or if you are using a TrueType font in Word or PowerPoint - and you are most likely - you can use the font; embed this saves the characters with your document. Read information about how to embed fonts in PowerPoint: Doug Thomas blogged last July. (I blogged about limit your carry-on by embedding, also.)

Avoid security by font trouble on the road

If you have purchased your fancy fonts, you would better ensure that the company bought you out still omitted, you can use it only on a single computer.Not all TrueType fonts can be embedded (annoying license restrictions).Bottom line: Make sure you are foot here; the straight and narrow You want to court not in the font at the end.

Serifs are the stems of some letters in a certain font such as Times New Roman and Georgia the small "tails" at the end. Sans serif fonts have not the tails (kind of like my Australian Shepherd, although he somewhat dull). Examples are Arial and Tahoma:

If you try to figure out whether a serif or sans serif font select to check whether this category for an on screen order or a print job. I have a little about this and got some conflicting information, but what I have found that a serif font is easier to read in print, while a sans serif font is better, if read something on the computer. The theory is that helps that serifs are a visual guide or train, the reader's eye follow a one reading the type and groups of words, rather than individual words. And while this works great for print, it works also for the screen.

(As usual, can you vary the results.) I want to take your it hear.)

I make this short and sweet:

Cutesy fonts   Save for personal use, not business presentations or documents. (The rules change, however, is this document, or a slide show for a group of children.) (If your employees like children, you are on your own.)To limit how many font families that you are using,   If you think about the combination of multiple fonts in a single document, think different, that someone is going to read... presentation, or anything You again. If you are using too many fonts, it looks ugly, it is disruptive, and it helps your readers to hard work. In other words, too many fonts will spoil the broth. (If you don't know what a font family is, again, I wrote the first books post called fonts 1: the families and their styles.)

 

(See more of David Salaguinto Office OFFline comic- all with Microsoft Visio, created by the way.)

Get for Monday: And (and install) new fonts Andin formation to create your own fonts.

Crabby Office Lady of searches of the week: you would me for a dollar shock? She would say studies.

Office partner

Must not to help you find out the different channels you have tried? Answers Microsoft , the answers to your nagging problem can have.

View the original article here

Fonts I: the families and their styles

Welcome to my first post about fonts, the indispensable Tyepface-y things, you to need decisions about everyday (the one for this doc; the one for, the e-Mail; for whom, how large, how small, how readable,... etc..).

Today, we go over some basics about fonts and then, in the next post or two, we the difference between the different types of them in some of the more juicy topics such as where and how some other fonts (because you never have can be enough),, and even how to create your own font (to talk about, I recently read that schools in 41 States no longer italic handwriting teaching willbe.) How can that be? (My third degree, left-handed is scrawl, almost illegible, priceless!)

Nevertheless, we are talking today enter not write. Let's go font it up.

Traditionally, the terms "Writing" and "Font" separately used were, and were not the same. It was used to be that a script was of a printer or Publisher designed metal manufactured and put into a press. The script was the design appearance of the characters, while a font a certain typeface in a size, a style and a weight (Helvetica bold 10 point was a font and Helvetica bold italic 10 point was a different font). Printer-resident fonts change, every time, if they wanted to change the appearance of a Word.

Now, times have changed and we are talking here made not of type metal. These days, it is pretty sure of which assume that "Font" and "Writing" on the same mean - perhaps not for designers, but you and I, not designers who only want our work to do.

This picture shows four different fonts:

ArialFrench script MTLucida BrightCurlz MT

A font family is a collection of all the fonts in a font with different sizes, weights (such as bold), and kind is (such as italic). The image below shows some of the Arial font are members of the family in education.

ArialArial BlackArial NarrowArial rounded MT bold

Ah, style. Some of us have it. and some of us do not. (Of course, some of us who know, and some of us do not.) Fonts in this case are the owning; You all have style. And make like your daily choice between Gucci and gap, otherwise requires any text location.

 

BoldItalicUnderlineDouble highlighted (if you really mean it!)Strike-through

There are many other species such as such as small caps, lowercase and superscript. Sniff which Office version you use and try some of these things in the works.

I realize that this is all very easy (we must begin the Beguine, you know) and so in the next posts I'll talk about things such as where your fonts on your computer, such as more to obtain and install new fonts are stored, and some best practices.

Office partner

View the original article here