English (英語) here
（翻訳：Adobe Type チーム 山本太郎）
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.
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.
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 等 and U+9999 香.)
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.
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:
On this date last year, I published the Contextual Spacing GPOS Features article, and this briefer article serves as an update.
In exactly 10 days, Japan is expected to reveal the name of its next era that will begin on 2019-05-01.
This article will cover several important standards or events that are related to the two-kanji square ligature forms of the current era name, the previous three, and the forthcoming one.
This is a brief article to draw readers’ attention to my latest test font, which is a 12-font 65,535-glyph OpenType/CFF Collection that is intended to test how well an app or other font-consuming environment supports language tagging for East Asian text, to include the handling of localized strings, such as those for menu names in the 'name' table, and for named Stylistic Set 'GSUB' features.
The Variable Font Collection test fonts that were made available at the beginning of this month serve this purpose to some extent, but they also require an environment that supports not only Variable Fonts (aka OpenType/CFF2 fonts), but also Variable Font Collections (aka OpenType/CFF2 Collections). The main intent of this OpenType/CFF Collection is to remove the Variable Font baggage from the testing requirement. It also includes support for Macao SAR as a third form of Traditional Chinese, which was described in the previous article.
Please visit the open source Source LOCL Test project for more details, or to download the pre-built OpenType/CFF Collection binary from the Latest Release page.
This is a short article that is simply meant to draw developers’ attention to three OpenType/CFF2 Collections (aka Variable Font Collections) that I built this week, which are now available in the open source Variable Font Collection Test project. As stated in the project, the purpose of these Variable Font Collections is to simulate the Source Han and Noto CJK fonts deployed as Variable Fonts, to help make sure that the infrastructure—OSes, apps, layout engines, libraries, and so on—will support them. Remember that it took several years for Microsoft to support OpenType/CFF Collections (OTCs), which finally happened on 2016-08-02. In other words, this is not trivial.
“Everything that has a beginning, has an end. I see the end coming.” — The Oracle
To first provide some background, I started to work at Adobe right before we invented CID-keyed fonts. The first desktop (aka non-printer) deployment of CID-keyed fonts was in the form of “Naked-CID fonts” in 1993 or so, which required ATM (Adobe Type Manager) to be installed. While such fonts were available for Macintosh and Windows OSes, Naked-CID fonts for the latter OS were incredibly short-lived and therefore rare, and were subsequently replaced with OpenType/CFF fonts in the late 1990s. Naked-CID fonts for the former OS were replaced by “sfnt-wrapped CIDFonts” (aka “sfnt-CID fonts”) in the mid-1990s, and also required that ATM be installed. Adobe Tech Note #5180, entitled “CID-Keyed sfnt Font File Format for the Macintosh,” details the sfnt-wrapped CIDFont format, which is specific to Macintosh due to its use of a resource fork.
With that stated, fonts are among the most perpetual and resilient of digital resources, meaning that discontinuing support for legacy font formats cannot be done quickly, and many years must pass before it can be realistically considered.