Type designers used variation in font editors like Fontographer and FontLab Studio 5 for more than two decades. You can preview instances dynamically at any axis location, and you can predefine some instances by giving them names. If the masters match (are geometrically compatible), you can use interpolation to combine your masters at a requested axis location and to to produce instances: intermediate, blended snapshots of the variation. Masters are like “key frames” of the variation. Each master has a numerical location on each axis. In these “master styles”, you design how each glyph looks when it’s “regular”, “bold”, “condensed”, “wide” etc. In FontLab, you can add multiple masters to your font. But as a type designer, you can fluently change the weight or some other aspect of the design, which is more like using sliders to change the brightness, contrast or volume of the TV.Īn aspect of the font that changes fluently (such as weight, width, slant, contrast, optical size or ascender length) is called a design axis. The users could switch between those two, or perhaps a few more, weights, like you would switch the channel on your TV. In metal type and in traditional digital fonts (“static” fonts), a font with “regular” weight was completely separate from a font with “bold” weight. When you work on a type design in FontLab, you design the shape (look) of each glyph, but you can also design the variation of each glyph. Normalized coordinates in variable OpenType.Normalized coordinates in variable OpenTypeĭetecting Element References or Composites Glyph names, OT features, text, layers, color, files, UI, Python, varia Variation, imported artwork, components, auto layers, elements Metrics, kerning, Font window, Font Info, hints, guides, classes
General, editing, anchors, actions, FontAudit, copy-paste
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