A New Face For Adobe—Redux

As a follow on to our seven-year-old May of 2009 article of the same name, several things have happened with the Adobe Clean family that have yet to be reported, and which have CJK implications. Hence the reason for spending my Sunday morning writing this article.

In the following year, 2010, I developed and deployed a Japanese version of Adobe Clean named Ryo Clean PlusN (りょう Clean PlusN in Japanese), and then in 2015, I developed and deployed a Pan-CJK version named Adobe Clean Han (Adobe Clean 黑体 in Simplified Chinese, Adobe Clean 黑體 in Traditional Chinese, Adobe Clean 角ゴシック in Japanese, and Adobe Clean 고딕 in Korean). These typeface families are Adobe corporate fonts that are meant to be used for product literature, for serving to Adobe websites, and for use by Adobe apps. They are not meant to be used by our customers, but I suspect that the readership of this blog may be interested in some of the development details. If this interests you, please continue reading.
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Standards 101

Attention, students! Class is in session.

In my experience, the following two statements about standards are seemingly conflicting yet accurate:

  1. Standards are incredibly useful—and required—for product development.
  2. Standards cannot be completely trusted.

On one hand, developing products, such as typeface designs and their fonts, depends on standards.

On the other hand, standards themselves are developed by humans, meaning that they are prone to error, especially when they happen to be character set or glyph standards that include thousands or tens of thousands of representative glyphs.
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UTC #148, Extension F & Unicode Version 10.0

UTC #148 took place in Redmond, Washington last week, hosted by our friends at Microsoft. It was a four-day working meeting, and many important Unicode-related issues and proposals were discussed. A total of 7,888 new characters were formally accepted into the standard during this meeting. Among them were the 7,473 CJK Unified Ideographs of Extension F, along with the lone CJK Unified Ideograph U+9FEA that is appended to the URO (Unified Repertoire & Ordering) and is the result of the disunification of 㸂 U+3E02, which were accepted on 2016-08-04 for inclusion into Unicode Version 10.0. Version 10.0 is slated for a June 2017 release. This means that my table above is now less tentative (clicking on the image will reveal the entire PDF file that includes details about the unchanged CJK Compatibility Ideographs).

Other CJK Unified Ideographs that are slated to be included in Unicode Version 10.0 are the 20 characters, U+9FD6 through U+9FE9, which were accepted on 2014-10-28 (UTC #141).

This will bring the total number of CJK Unified Ideographs to 87,882, and as the table at the top of this article suggests, there is not much room left in Plane 2, and Extension G is just around the corner.

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For those who are curious about the 414 other new characters that were accepted during UTC #148, please click here, here, here, here, here, here, and here.

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August 2, 2016—A Date Which Will Live In Dignity

August 2, 2016 is the official release date for Microsoft’s Windows 10 Anniversary Update (aka Redstone or RS1). Although I do not use Windows OS, I am jumping for joy, for the benefit of those who do use this modern and world-class OS.

Thanks to our friends at Microsoft, the DirectWrite that ships with the Windows 10 Anniversary Update supports OpenType/CFF Collections (aka OTCs), such as those deployed as part of the Adobe-branded Source Han Sans and Google-branded Noto Sans CJK open source projects, to include their all-inclusive “one font to rule them all” Super OTCs.


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Unicode Version 9.0

For those who missed the memo, Unicode Version 9.0 was released on June 21, 2016, which added exactly 7,500 characters to the standard. Unicode now includes a total 128,172 characters, which is just shy of 3,000 characters under two full 256×256 planes.

While Version 9.0 does not add any new CJK Unified Ideographs, I used this opportunity to enhance my single-page CJK Unified/Compatibility Ideographs document to better track unassigned code points for the relevant blocks and planes. The image at the top of this article shows the first half of the document, and if you click on it, you’ll access the original PDF file that can be squirreled away for reference purposes.

I also used this opportunity to update my tentative Unicode Version 10.0 document in the same way.

As usual, enjoy!

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25 Years of #AdobeLife & @AdobeType

Today is Friday, July 1st, 2016, which is a date that has a special significance for me. I am publishing this from Hot Springs, South Dakota where I am enjoying a few days away from work.

My life was put on a new path exactly 25 years ago, on Monday, July 1st, 1991. I was 25 years old at the time, and I am therefore 50 years old now. It was on this date that I started working at Adobe as a member of its Type Development team. My employee number is 879, though at the time there were approximately 500 employees in total. It was a much smaller company back then. As you can see from my very first business card below, I was involved in things related to Japanese type from the very beginning:

 

This event effectively launched a 25-year career that is still going strong, and which has been in the same department doing essentially the same thing, though the technologies and related standards have changed or evolved.

The rest of this somewhat lengthy article will be used to highlight some of my accomplishments during each five-year period.
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Glyph Names versus CIDs

This will be a short, sweet, and to-the-point article. Sorry, no graphics nor photos.

When developing name-keyed fonts, glyph names matter. They matter a lot. When developing new fonts, the glyph names should either be explicitly listed in AGLFN (Adobe Glyph List For New Fonts) or derivable via the AGL Specification. Glyph names that adhere to AGLFN or the AGL Specification result in fonts with well-formed 'cmap' tables, which means that their glyphs will behave better in a broader range of environments. I cannot stress the importance of this.

CIDs (Character IDs), on the other hand, represent a completely different beast. If a font is genuinely CID-keyed, it means that there are absolutely no glyph names, regardless of whether the source font or fonts that were used to build the CID-keyed font were named-keyed. Once a font resource becomes CID-keyed, the original glyph names are literally jettisoned, and the only way in which to map Unicode values to glyphs is via the 'cmap' table, which is usually done using a UTF-32 CMap resource. In other words, when developing fonts that are intended to be deployed in a CID-keyed fashion, the source glyph names play absolutely no role in how such fonts are processed.

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XUID Arrays: One Less Thing To Worry About


By ESO/José Francisco Salgado (josefrancisco.org) — ALMA antennas under the Milky Way

Five years ago, I wrote this article that described how to manage XUID arrays. Then last year, I wrote this article that suggested that XUID arrays are no longer necessary.

Anyway, there are two messages that are being conveyed in today’s article.

The first message is short and sweet, and meant to be strong: Adobe advises against including XUID arrays in all new and updated font-related resources, meaning fonts themselves and their corresponding CMap resources. The good news is that omitting the XUID array represents one less thing to worry about during font development.

The second message is longer, meant to provide some background information, and describes why Adobe advises against including XUID arrays in font-related resources.
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Tofu, Or Not Tofu

One of my more popular open source fonts is Adobe Blank, and to a less extent the related Adobe Blank 2 because it uses a 'cmap' table format, Format 13, that is not broadly supported. Actually, Adobe Blank provides absolutely nothing, because it maps all 1,111,998 Unicode code points to a range of 2,048 non-spacing and non-marking glyphs, yet such a font is useful for particular scenarios, such as addressing the FOUT (Flash Of Unstyled Text) problem.

Allow me to introduce Adobe NotDef, which is modeled after Adobe Blank in that it covers all of Unicode and maps to a range of 2,048 glyphs, but differs in that the functional glyphs are spacing and marking. The original suggestion for Adobe NotDef came from Dave Crossland. The glyphs match the shape and advance width of the standard Adobe .notdef glyph that is invoked in environments that do not support font fallback when the selected font does not include a glyph for a particular character, and as Dave wrote, Adobe NotDef is useful for font fallback purposes in that it can be used to prevent the display of non-standard .notdef glyphs that may be present in some fonts in the font fallback chain.
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25 Years of Unicode

The Unicode Consortium celebrated its 25th anniversary in January of this year. The photo above is the celebratory (U+1F955 CARROT; a Unicode Version 9.0 candidate) cake that was enjoyed during the UTC (Unicode Technical Committee) #146 meeting that was hosted by IBM in San José from January 25th through 28th, 2016.
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