By on 2018-11-23 in Celebrate the upcoming first birthday of FontLab VI: through Cyber Monday (November 26 th), for $ 299 $ 459, upgrade from FontLab Studio 5 for $ 169 $ 199, and if you’re a student or teacher, get your license for just $ 195 $ 229! Since FontLab VI premiered last year in December 2017, we’ve released ten new versions of our ultra bold font editor, each adding great new functionality and fixing bugs. Almost a month ago, we released version 6. 1, and restarted the free 30‐day trial period.

So if your trial expired in the past, now, try it, and remember: our Thanksgiving birthday sale ends Monday night! Or about FontLab VI. By on 2018-11-22 in The technical OpenType editor DTL OTMaster developed by Dutch Type Library ( DTL) and URW Type Foundry is now available in version 7.

The new version brings support for variable OpenType fonts, an all‐new Proofing Tool for printing and creating PDF specimens, and many detailed improvements. With OTMaster, you can inspect, troubleshoot and modify OpenType and TrueType fonts in a non‐invasive way — in all their flavors, including variable fonts, color fonts, TTC collections, WOFF 2 web fonts, and CID‐keyed OTF fonts. You can view and change OpenType Layout features, edit low‐level OpenType font tables, and fix bugs or problems. With OTMaster’s Glyph Editor, you can import a monochrome EPS or SVG drawing, ornament or logo, and add it as a new glyph or replace an existing glyph in a font. Visit our for more info about the app, or in the FontLab store! The full license for macOS, Windows or Linux is US$ 228, upgrades from previous versions are US$ 57. We also offer an academic price at $ 114 (requires proof of your academic status, such as a student or staff ID card).

OTMaster is a perfect companion app for: draw, space, kern & hint in FontLab, test & tweak in OTMaster. By on 2018-10-25 in FontLab VI version 6. 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 improvements, and our describe all other improvements and bug fixes. Quick Help shows contextual help/tutorial information.

The update also has many other improvements, as well as bug fixes. See the for details. Oh, and FontLab VI is instead of $ 689, until August 31!. By on 2018-07-20 in FontLab VI is on sale for just $ 459 instead of $ 689 — 1/ 3 off until August 31!, 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 VI 6. 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 VI 6.

7 also includes improvements in handling Elements, glyph names and Unicode, FontAudit, contour editing, plus user interface tweaks and many bug fixes — see the for a full list. Try FontLab VI for 30 days or buy now at the discount:. By on 2018-07-19 in. Thomas Phinney in Portland is about two weeks away, August 1 – 5, 2018. FontLab will be there! I (Thomas Phinney) will be teaching “.” There are still a few spots left in this half‐day workshop (Wednesday August 1, 9 am — noon), so sign up now!

If you’re not in the workshop, feel free to ask me questions any time you see me, get an impromptu demo of some feature, or just say “hi!” Conferences — including TypeCon in particular — are a great way to meet people of all levels in the type community. Even many of the top folks in fonts are amazingly friendly and approachable! Not to mention all the amazing talks and panels. Highly recommended!.

By on 2018-04-12 in 1/ 3 off full price, 20% off upgrades and educational! We are celebrating this week’s #typolabs conference in Berlin by giving talks and demos at the conference — and by putting FontLab VI on worldwide sale for the first time ever. No matter if you’re in Berlin or elsewhere — sale ends Tuesday April 17, so get the discounts while you can! At the same time, we have just shipped version 6. 5, our biggest update since FontLab VI first shipped. We have added several of the most‐requested features to FontLab VI, including autosaving; easier ways to work in integer coordinates; class kerning improvements; font window browsing by Unicode categories and scripts; a host of improvements to variable fonts workflows; and more — a total of 100+ improvements and bug fixes, more than in any previous update!

If you are at #typolabs 18 in Berlin, come see us on Saturday April 14. First at 9: 30 Adam Twardoch will show you what FontLab VI can do for variable fonts, with no limits on the number of masters and axes you can use!

Then at noon, get a deeper dive on FontLab VI variable fonts capabilities with Adam and FontLab VP Yuri Yarmola, plus Q&A and some broader discussions. 1.

With unique killer features like native TrueType support and single-window Multiple Master editing, FontLab’s Studio 5.0.2 is the most capable font-editing tool available today, easily outpacing both the current ( ) (which FontLab now owns) and the old FontStudio (formerly published by Letraset). It has been, over time, a great favorite of font manufacturers, font designers, and graphic designers who need to customize fonts for clients—people who need more advanced features than Fontographer offers, such as OpenType format support. New features for FontLab Studio 5 (called FontLab in previous releases), include new editing tools for metrics and kerning, in-context glyph design, improved Unicode and Multiple Master support, new printing/proofing features, and dozens of other interface enhancements and functionality refinements, including the ability to preserve your workspace settings across font editing sessions. Multiple Master One of Studio’s glories is improved Multiple Master support, which simplifies the production of large multi-weight families. Whereas in Fontographer, each weight is contained in a separate file with up to three separate windows, in Studio 5, a multiple-weight family can be a single file that you can view in a single window. The new release also improves automatic generation of accented characters, a useful feature for those who work with Eastern European languages.

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Because of its efficient anti-aliasing capabilities, you can use Studio’s novel multi-line Metrics window to show comparatively small lines of text on screen. The anti-aliasing lets you view much smaller characters on screen than you ever could before, without visible pixel artifacts. Essentially, it makes your 150 dpi screen look more like a 300 dpi or even 600 dpi screen. No font editor could ever do anything like this before. A related new feature is called in-context editing. The basic idea is that when you are editing a glyph, shape-related glyphs appear in the background, making it easier to keep related shapes in sync.

This is an intriguing and original feature, but I would have been happier if Studio had offered deeper support for traditional foundry-style metrics fitting instead. Python support Studio 5 also offers improved integration with the Python programming language that is built-in to Mac OS X, enabling infinite custom programming and scripting capabilities.

Studio 5 even has a built-in Python editing window. Studio 5 also includes the Python-based, which lets you limitlessly manipulate fonts in Studio, and will even let you store font data in a non-proprietary and extensible format. (Though RoboFab lets you extend, automate, and customize Studio 5 to the limits of your imagination, you will need to be a fairly adept programmer to get much out of it.) While Fontographer users will appreciate that Studio now properly displays tangent points, they might be disappointed by the weak print and proof features, cumbersome handling of scanned images, and Studio’s mediocre zoom factor of 1,600 percent (I would like to see 6,400 percent). However, for print proofing, Studio has good integration with ( ), and the two together make a very satisfactory, though expensive, proofing solution. Studio 5 is the only commercially available font editor that edits TrueType directly (all others convert a font to PostScript when you edit it, then reconvert it to TrueType when you generate it—resulting in substantial quality losses). Without Studio 5, there is no way to create high-quality TrueType fonts unless you have access to proprietary font editing software.

Most of the font foundries that built font-editing software in the past have now abandoned that practice for Studio 5. Studio’s extensive OpenType format support lets you build fonts using all the rich capabilities of this new, complex format: huge character sets, infinite ligatures, additional languages, and sophisticated contextual variant support. Not easy to learn To mine Studio 5’s riches, you will have to study the manual and probably also participate in forums where users share problems and tips. Excellent free support is available through e-mail. I appreciate FontLab’s legendary responsiveness: a reported bug will sometimes be fixed within a day. Unlike Fontographer, which is a comparatively simple program, Studio will occasionally give you an unpleasant surprise.

For example, I performed a simple append operation in a Multiple Master font that resulted in the insertion of extra points, thus ruining the outline. The documentation provided with Studio is good, but it does not cover this issue, which I had to resolve through tech support. One thing is clear: save frequently, and save multiple versions. More than once, I performed hours of work, only to have to go back to a previous version of the file because a problem I caused was not immediately apparent. While there is extensive undo function in FontLab, it contains some perversely crude elements.

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And some actions, such as the Append operation, are not undoable. If an append goes wrong you may not realize that something bad has happened until hours later.

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Despite that, I keep coming back to Studio because it lets me do things I could only dream of with earlier generations of font editors. I did not like the interface of Studio 5’s predecessors: FontLab 3 and 4. But Studio 5’s usability is now good enough for me to be comfortable doing most of my font work with it.

Macworld’s buying advice FontLab Studio 5.0.2 is the most capable font editor you can buy today, but it is hard to learn. If you can live without Studio’s advanced features—OpenType and native TrueType support, better metrics editing, superior Multiple Master support, and programmability—then you will probably be happier with Fontographer. Serious font folks use them both, but Studio is too substantial an investment of time and money for casual users. Bill Troop is a font designer and writer.