I have advocated the use of the special-purpose and language-neutral Adobe-Identity-0 ROS over the past few years, and have developed several CID-keyed fonts that take advantage of this ROS, but keep in mind that its use can act like a double-edge sword.
On one hand, it provides font developers with great flexibility, in terms of the glyph complement of a font. In other words, font developers need not be restricted to one of our public CJK ROSes, such as Adobe-Japan1-6, or a subset thereof. Kazuraki is an example of a Japanese font whose glyph set requirements didn’t fit Adobe-Japan1-6, so the Adobe-Identity-0 ROS was used.
On the other hand, font developers need to develop all of the necessary resources, such as the UTF-32 CMap Resource that is used as the basis of the ‘cmap‘ table, which maps Unicode code points to glyphs in the font, along with any GSUB features. In addition, and because the Adobe-Identity-0 ROS is language-neutral in that its designation does not specify or suggest a primary language, some applications may incorrectly assign a primary language to such fonts. This, of course, is due to heuristics (発見的教授法 in Japanese), or more specifically, their failure.
Unicode has become the de facto way in which to represent text in digital form, and for good reason: its character set covers the vast majority of the world’s scripts. Other benefits of Unicode include the following:
- That it is under active and continuous development, meaning that with each new version, more scripts are being supported, and additional characters for existing scripts are being standardized.
- That it is aligned and kept in sync with ISO/IEC 10646 (available at no charge), which is quite a feat.
With regard to font development, Unicode is considered the default encoding for OpenType, which refers to the ‘cmap‘ table. The most common ‘cmap’ subtables are Formats 4 (BMP-only UTF-16) and 12 (UTF-32). The latter is used only when mappings outside of the BMP (Basic Multilingual Plane), meaning from one or more of the 16 Supplementary Planes, are used.
[I’d like to preface this article by stating that it was written and contributed by our esteemed colleague, Taro YAMAMOTO (山本太郎), who manages our Japanese typeface design efforts in our Tokyo office. — KL]
NHK World’s TV program, Design Talks, to be broadcast from 1:30 to 2AM on Thursday, June 13th (UTC, London Time), will feature Japanese typography and typeface design. Various kinds of characters, such as Chinese ideographs, Japanese hiragana and katakana syllables, as well as Latin alphabet characters are used in Japanese typography, and it has a deep relationship with the tradition of Japanese calligraphy and handwriting, which were artistically made, and represent a culmination from the past. This program tries to shed light on the unique characteristics of Japanese typography by interviewing talented type designers of today, one of whom is Adobe’s own Ryoko NISHIZUKA (西塚涼子).
For more information about the TV Program: Design Talks (please refer to the links on that page to find out the program schedule and how to watch the program).
[For those in the US, you can check the schedule to find out when this program will be broadcasted. The easiest way to watch the program is by using the “NOW ON AIR” pod in the upper-right corner of the main page. For those in the PDT time zone, such as California, it will be broadcasted at 6:30PM and 10:30PM on Wednesday, June 12th, and at 2:30AM, 6:30AM, 10:30AM, and 2:30PM on Thursday, June 13th. — KL]
[This Japanese version of the May 31, 2013 article entitled CSS Orientation Test OpenType Fonts is courtesy of Hitomi Kudo (工藤仁美).]
五月三十一日にアドビの新しいオープンソースプロジェクトで、「CSS Orientation Test OpenType Fonts」をリリースしたのでお知らせします。このオープンソースプロジェクトは、Unicodeの次期UTR #50（「Unicode Vertical Text Layout」）のエディタである石井宏治氏のリクエストをもとに開発された、二つのOpenType/CFFフォントを含みます。これらフォントの目的は、フォント開発者がより簡単にグリフの方向に関するテストを行えるよう考慮したものです。