Hi Abraham,
this sounds very interesting indeed. I'd be most interested in seeing
some comparison examples!
I can't help you at all with your actual question, but I have a
question
of my own: Could you please make somewhat more clear what the use
case
is exactly (in terms of your "users")?
My main question is why exactly you want ot edit the .odt files and
not
the sources. I mean you are writing a Python script, so your users
wouldn't mess with Metafont anyway.
Of course Modifying the .otf is faster and doesn't require a LiylPond
build. But wouldn't it be a very nice touch if the modifications you
made could principally be integrated into LilyPond itself (or at
least a
custom build).
Urs
Am 21.04.2014 19:19, schrieb tisimst:
I am developing a /relatively/ easy python script to allow a person
to tweak
the default Emmentaler font as they desire without needing to mess
with
metafont, but by simply modifying the .OTF files in FontForge. I
feel like
I've gotten things /mostly/ under control, but I am running into
two issues
that I just can't figure out.
The first has to do with the glyphs, which I tweaked a little, that
come
from the feta-alphabet subfonts (i.e., the time-signature numerals
and the
dynamics letters) which for some reason default to some other font
for the
numbers and letters and don't use those in my font at all:
<http://lilypond.1069038.n5.nabble.com/file/n161702/timesignature-and-dynamics.png>
The other issue appears with the arpeggio element and, I suspect,
also with
the trill element (though I haven't tried it explicitly), neither
of which
did I modify at all. As can be seen below, the glyph doesn't
connect for a
continuous look:
<http://lilypond.1069038.n5.nabble.com/file/n161702/arpeggio-and-dynamics.png>
I have combed through the source code, but I couldn't find anything
remotely
obvious as to why this would be the case. There also appears to be
some
kerning information for these glyphs that I think I've figured out,
but not
sure. Let's just say I am at a loss without some help from someone
more
intimately involved in the data required to render these glyphs
(Han-wen?
Werner?)
Now, why am I doing this?
Well, Although creating a new music notation font is definitely
fun, there's
another more important reason for this. I'm an engineer by trade
with some
manufacturing experience. I also love singing and playing the piano
and
computer programming, which makes using LilyPond quite enjoyable.
As I have
looked at the notation glyphs from older (and IMHO more beautiful)
scores
that are hand engraved and printed, there is an artistic aspect of
the glyph
designs that is still missing from Emmentaler. I am, in NO WAY,
saying that
Emmentaler is a poorly designed font. It is VERY NICE and I offer
my highest
regards to those who developed it. I know it took a ton of work.
Here's what's missing, and I don't know how metafont can capture
this. Much
of the focus of the design of Emmentaler font has been around the
*/engraving/* part, which is HUGELY important. However, one thing
we are
forgetting (which may not be important to others, but I see as more
critical) is the design AND FABRICATION of the punches that were
used. Let
me explain what I mean.
In order to cut metal, I have to have a tool that is */sharp/*. How
sharp?
Well, that's relative I suppose, but let's assume I have a tool
with
knife-like edge that is hard enough to cut, say, the treble clef
punch at a
particular size. Now, this knife edge is only so sharp and, when
cutting
metal, isn't likely to be used like we would use a knife to carve
wood. On
the contrary, it would be used more like a chisel and would be able
to
create a /smallest/ feature size, like for an interior corner. This
is the
most obvious kind of feature that most people don't think about
when
creating a classical-looking font. Exterior corners can be made
sharp--/no
problem!/--because I am not limited in size by the tool I'm using
to create
it. On the other hand, the interior corners are /*NEVER EVER EVER*
going to
be sharp/ because I simply do not have a strong enough tool with a
sharp
enough edge to cut a perfectly sharp interior corner. Even nowadays
with our
advanced manufacturing processes, this is a difficult and very
expensive
challenge.
What this means: in order to have a truly authentic, classically
engraved
look, ALL interior corners should be rounded-ish, and the
rounded-ness
should remain optically constant (i.e., for emmentaler-26, the
internal
rounds would be optically the same size as those for emmentaler-11,
but in
the font itself, the rounds would be /MUCH LARGER/ for
emmentaler-11 than
emmentaler-26 because the intended print size is /MUCH SMALLER/). I
realize
that using a traditional printing press with liquid ink will also
contribute
to the final size of these rounds, so what this "minimum feature
size"
should be is certainly debatable. I know that not everyone would
agree with
the need to add this feature, or with any of the other changes I've
made,
but take it for what it's worth. I think it would add a very nice
touch to
Emmentaler.
(phew!)
Wow, I didn't mean for all that to come out right now, but I
thought I'd
share some thoughts on this matter. I just LOVE LOVE LOVE LOVE the
printed
look of hand-engraved scores, and the Emmentaler font does great
for the
most part, but I don't feel like it quite captures some
unmistakable
hand-engraved features of the whole engraving/printing process
needed to
make computer-generated scores look more authentic and less
computer-generated. There are even more features that I love, but
would be
most difficult to mimic, so I won't go there (yet).
So, back to my original reason for posting this. Can someone help
me figure
out why the dynamic letters and time-signature numbers won't appear
like
they should from my font and why the arpeggio elements won't line
up? I know
there's kerning involved, but I don't suspect that is the issue. I
know the
glyphs are there in the font, so that's also not the issue. Thanks
for your
help and keep up the excellent work!
-Abraham
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