オントロ & グスーム?

What in the world could オントロ (ontoro) and グスーム (gusūmu) possibly mean? (If you wait a few seconds, a hint will flash in the animated GIF above.)
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2019 “State of the Unification” Report

The UTC #160 meeting took place last week at Microsoft’s HQ in Redmond, Washington.

For CJK enthusiasts, the big news is that the UTC accepted CJK Unified ideographs Extension G (aka IRG Working Set 2015), which includes 4,939 characters. Additional CJK Unified Ideographs were appended to the URO (13), Extension A (10), and Extension B (7). As a result, the Extension A block will be completely full, and the URO and Extension B blocks will be nearly full. The total number of CJK Unified Ideographs in Unicode Version 13.0 is expected to be 92,856, which will represent approximately 65% of its characters.

The Pipeline accurately reflects the additional CJK Unified Ideographs that are targeted for Unicode Version 13.0. I suspect that the image at the beginning of this article will be helpful, and when clicked, will provide a PDF version that also includes a table for CJK Compatibility Ideographs.

These additions reflect two issues about which developers need to be aware:

  • Plane 3 (aka TIP or Tertiary Ideographic Plane) is now open for business, and Extension G represents the first block encoded among its 65,534 available code points.
  • This is the first time that CJK Unified Ideographs have been appended to a block other than the URO.



English (英語) here

(翻訳:Adobe Type チーム 山本太郎)


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Adobe-Japan1-7 GSUB Features

For Adobe-Japan1–based OpenType/CFF Japanese fonts that support the glyph or glyphs for U+32FF ㋿ SQUARE ERA NAME REIWA (Unicode Version 12.1), meaning Adobe-Japan1-7 CID+23058 or CIDs 23058 and 23059, font developers need to be aware that adjustments to a small number of GSUB (Glyph SUBstitution) features are necessary to make them more easily accessible or simply usable.
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Horizontal & Vertical Compression/Expansion via Variable Fonts

日本語 (Japanese) はこちら

I recently came up with a Variable Font model to handle glyph compression and expansion in horizontal and vertical layout that includes support for characters whose glyphs rotate in vertical layout, such as the glyphs for Western characters, along with TCY (縦中横 tatechūyoko in Japanese, which literally means “horizontal in vertical”) support.

The purpose of this article is to call attention to the open source test font that I developed, along with a description of the model itself, which are intended to be used by developers to implement such support in apps and layout engines.
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Source Han Mono Version 1.001 Update

The new open source Source Han Mono (源ノ等幅 in Japanese, 본모노 in Korean, 思源等宽 in Simplified Chinese, 思源等寬 in Traditional Chinese—Taiwan, and 思源等寬 香港 in Traditional Chinese—Hong Kong SAR) typeface was released only four days ago, and this article provides details about its 70-font Super OTC (OpenType/CFF Collection). This article simply serves as an announcement for the Version 1.001 update that was released today. There are two main changes about which users should be aware:

  • The alignment zones and hinting parameters for the FDArray elements whose glyphs were derived from Source Code Pro were improved. Many thanks to Twitter user @KiYugadgeter for raising this issue here, and for confirming the fix here.
  • Our designer, Ryoko Nishizuka (西塚涼子), opted to improve the glyphs for the half-width katakana (半角片仮名) that were expanded to have 667-unit horizontal advances via anisotropic techniques. The image above shows glyphs from Source Han Sans, then from Source Han Mono Version 1.000, and then from Source Han Mono Version 1.001.

I also updated the 143-font Source Han Mega OTC and 216-font Ultra OTC in the Source Han & Noto CJK Mega/Ultra OTCs project earlier today.



To UVS, Or Not To UVS

Several months ago I updated the Adobe-Japan1-UCS2 “ToUnicode” mapping file in the open source Mapping Resources for PDF project specifically to accommodate the two Adobe-Japan1-7 CIDs, CIDs 23058 and 23059.

However, that ToUnicode mapping file is long overdue for a rather extensive update for other reasons, and part of the delay was intentional on my part. The purpose of this article is to outline the reason for the delay, along with providing more concrete update plans.
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Source Han Mono Version 1.000 Technical Nuggets

As the readership of this blog should know, I updated the Source Han Sans and Noto Sans CJK fonts to Version 2.001 early last month, mainly to accommodate the glyphs for U+32FF ㋿ SQUARE ERA NAME REIWA, which is the two-ideograph square ligature form of Japan’s new era, Reiwa (令和), that began on 2019-05-01. I then seized the opportunity to update our corporate Adobe Clean Han typeface family, to bring it into alignment with Source Han Sans Version 2.001. The updated Adobe Clean Han fonts are now being served to this blog.

I then decided to embark on a somewhat ambitious project to develop a new open source typeface named Source Han Mono, which is best described as a Pan-CJK version of Source Han Code JP, first developed four years ago by my esteemed colleague in our Tōkyō office, Masataka Hattori (服部正貴). You can read the background here. This effectively closes Issue #2 in the Source Han Code JP project.

Source Han Mono is a derivative typeface design of Source Han Sans, designed by my colleague Ryoko Nishizuka (西塚涼子), and Source Code Pro, designed by my colleague Paul D. Hunt. Its localized names are 源ノ等幅 (Japanese), 본모노 (Korean), 思源等宽 (Simplified Chinese), 思源等寬 (Traditional Chinese—Taiwan), and 思源等寬 香港 (Traditional Chinese—Hong Kong SAR). (As an aside, the reason why the Traditional Chinese—Hong Kong SAR name, 思源等寬 香港, appears correctly is due to the updated Adobe Clean Han fonts. This benefitted the glyphs for U+7B49 and U+9999 .)

This article will detail some of the challenges that I faced, along with some of the decisions that I made, while developing this new Pan-CJK typeface family.
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Adobe Clean Han Version 2.001

The recent Source Han Sans Version 2.001 update provided to me an excellent opportunity to bring Adobe Clean Han, Adobe’s corporate Pan-CJK typeface, into alignment. I am pleased to announce that, as of yesterday, the updated Adobe Clean Han fonts are now being served to this blog via Adobe Fonts.

To celebrate this significant update, I decided that it would be appropriate to illustrate—using live text that can be easily copied and repurposed elsewhere—the 68 ideographs that include five separate glyphs, one for each of the five supported regions/languages:

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Simplified Chinese

Adobe Blank VF & Friends

I spent the last couple of weeks developing a Variable Font version of the infamous Adobe Blank, and the open source project, named Adobe Blank VF & Friends, was released yesterday evening. But, before I detail what makes the Variable Font versions special, besides being Variable Fonts, let’s briefly go over the history of Adobe Blank and Adobe Blank 2.

Adobe Blank

First released in 2013 as open source, Adobe Blank simply maps all 1,111,998 Unicode code points to non-spacing and non-marking glyphs. What made the project interesting for me was to find the right balance between the number of glyphs and the size of the 'cmap' table. When mapping over a million code points, this becomes a valid concern. After some experimentation, I found that 2,049 glyphs was the sweet spot that resulted in 'CFF ' and 'cmap' tables of a relatively small size.

Adobe Blank 2

Adobe Blank 2, which was first released in 2015, is a two-glyph version of Adobe Blank that includes a Format 13 (Many-to-one range mappings) 'cmap' subtable that maps all 1,111,998 Unicode code points to GID+1. At the time, there was no convenient way to create a Format 13 subtable, so I used ttx, and supplied the actual hex values of the compiled subtable. The current version of ttx can successfully compile a Format 13 subtable by explicitly specifying all 1,111,998 mappings.

That then brings us to the Variable Font versions…
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