10月10日水曜日、香港で開催されたATypI Hong Kong 2012にてAFDKOワークショプをおこないました。とても専門的な内容にもかかわらず、多くの方にご参加いただきありがとうございました。
３時間のワークショプの前半２時間は、Ken Lundeによる「Manipulating CID-Keyed Fonts Using AFDKO Tools」が行われ、後半１時間「Turning CID-Keyed Fonts Into OpenType Fonts Using AFDKO」を私が担当しました。
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For those who make use of the extract-cids.pl, extract-gids.pl, or extract-names.pl tools, all of which are AFDKO tx tool filters and are included in AFDKO, and whose purpose is to list the glyphs in the specified font resource, I’d like to introduce a new tool, named glyph-list.pl, which combines their functionality, thus making font development simpler.
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I had the opportunity this morning to present at ATypI Hong Kong 2012 about Kazuraki, specifically the details about its OpenType implementation. Hence, the title of the presentation is Kazuraki: Under The Hood. The purpose of this article is simply to make the presentation available.
Yesterday—meaning Wednesday, October 10th, 2012, Hong Kong Time (UTC+8)—I had the honor and privilege to present the first two hours of a three-hour ATypI Hong Kong 2012 workshop entitled Manipulating CID-Keyed Fonts Using AFDKO Tools. When I did a rough count, there were nearly 30 people in attendance. I’d like to use this opportunity to thank those who were able to attend, which meant that they made the effort to travel to this conference, and also chose to attend this workshop in lieu of attending presentations from the Typography & Reading and Typography & Culture tracks, or other concurrent workshops. I’d also like to provide to those who attended, and to those who were not able to attend, the presentation that I used to drive these two hours, which includes material that can be studied and referenced.
In addition to installing the latest-and-greatest version of AFDKO, the workshop attendees were also provide with the actual sample font data that I used to demonstrate the various workflows and techniques.
My hope is that these materials are useful to those who attended this workshop, and to those who were not able to do so. Enjoy!
Speaking of enjoy, that is what I plan to do for the remaining four days of this five-day conference. ☺
ATypI Hong Kong 2012 takes place next week, starting on Wednesday, October 10th, and ending on Sunday, October 14th. I will be there for all five days, and very much look forward to meeting many people face-to-face, some for the first time.
I will be speaking twice. The first time will be on the afternoon of October 10th, for the first two hours of the three-hour Manipulating CID-keyed Fonts Using AFDKO Tools workshop. My colleague, Masataka HATTORI (服部正貴), will be speaking for the last hour of the workshop.
The second time will be on the morning of October 11th as a twenty-minute presentation entitled Kazuraki: Under The Hood that immediately follows another twenty-minute presentation by two colleagues from our Tokyo office, Taro YAMAMOTO (山本太郎) and Ryoko NISHIZUKA (西塚涼子), entitled Kazuraki: Its Art & Design.
I declared my presentations final this morning, and the materials for the workshop have been prepared and were provided to those who registered.
I am excited…
Following again in the tradition of Adobe’s first open source font, Kenten Generic, the Adobe Type team announced today the release of their second open source typeface family, Source Code Pro. This monospaced typeface family was designed by our team’s own type designer Paul Hunt, who based the work on Source Sans Pro, Adobe’s first open source typeface family, released just last month. Six weights of Source Code Pro, along with its source files, can be download from the Open@Adobe portal on SourceForge, and for those who want to clone and fork the project, please refer to the GitHub location. The fonts are also available for Web use through Typekit, WebINK, and Google Web Fonts.
To learn more about the inspiration behind Source Code Pro, and how its design was adapted from Source Sans Pro, please refer to Paul Hunt’s Typblography article.
One of the most useful bits of feedback that I received from my portion of the June 25, 2012 AFDKO Workshop was that I include workflow diagrams that visually explain how various tools and control files work together. While preparing to present the same material at ATypI Hong Kong 2012 on the afternoon of October 10, 2012, I spent last Friday and this week creating additional presentation slides that include such workflow diagrams.
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The first set of ideographs to be encoded in Unicode (Version 1.1), which are referred to as CJK Unified Ideographs, are also referred to as the URO, which is an abbreviation for Unified Repertoire and Ordering. None of the other extensions are given this label. Extensions A through D have been standardized, and Extension E will soon be standardized. Only Extension A is in the BMP (Basic Multilingual Plane). Extension B and beyond are in Plane 2, which is called the SIP (Supplementary Ideographic Plane). What makes the URO special or unique?
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As I wrote earlier today on our sibling blog, Typblography, a new version of AFDKO was release earlier this month. I want to use this opportunity to point out some of the changes and enhancements that affect font developers who work with CID-keyed fonts. The details are buried in the detailed Release Notes that Read Roberts prepared.
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As described in the August 24, 2012 article, I am currently updating most of our OpenType Japanese fonts. One aspect of the update is to include the 32 additional IVSes, based on the March 2, 2012 version of the IVD (Ideographic Variation Database), which means that all of the kanji in Adobe-Japan1-6 now have a “plain text” representation. Another aspect of this particular update is to use the latest UTF-32 CMap resources, which include three additional mappings, one of which is U+9FCC that was appended to the URO (Unified Repertoire & Ordering) in Unicode Version 6.1. But, the topic of this article is about fixing a small number of glyphs, and the techniques that I used to do so.
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