wilelen rahmyn hendron
Jacque Waiden
You can change a and g and still work within one file, just keep them as separate glyphs and switch shapes. I think oblique/slanted design is easier to keep within one file to keep track of everything, and go separate for cursive/italic where design differs more and switching shapes becomes unreasonable.
Weight is just a common example, but you can apply it to any other axis. I would just design single story alternatives as a style set (add glyphs called a.ss01 and g.ss01) in both upright and italic and use Rename Glyphs in static instances and conditions in variable font. You can then decide if you want to offer a manual switch between these alts through a style set or remove that feature.
My new typeface family (9 weights) is working, but the 5 italic versions are in Font Book but are not appearing in the menu of the latest version of InDesign 2022 17.2.1
I have tried all day to solve this yesterday
Any tips? Has anyone else had this problem?
The naming setup looks alright to me. I would only suggest Ultralight and Ultralight Italic as style names, respectively. Separating the word Italic with a space from the rest. No need to use camelcase.
January 2024 and this is still happening? I also have this problem with the font Gotham and italic, it changes itself, Figma says it is regular but it is displayed as italic, this is a HUGE problem for the styles, someone help.
I've recently exported an image from Microsoft Expression Design to a .psd format, but when I open the exported .psd & attempt to create a new font layer, any font I choose will be italicized but only slightly. I'm positive that my font style is not set to be italicized, and when I select Italic the font will become visibly more italic.
Photoshop comes with fake bold/italic settings to provide fonts that don't naturally support it with those settings. But if that setting gets turned on, it'll stay on until it's turned off. As you can see in my screenshot, the font still says "Regular" even though the fake italics is pressed.
This past weekend I wiped my computer (had changed out some parts first) and then did a Windows 11 install. Today, after reinstalling Creative Cloud and getting my apps back, and reinstalling all of my previously-used fonts onto my system, I went into Premiere to find that one of my main fonts, Prelo, was only displaying the italic weights.
Attached is the font listing showing that I have all 24 weights of the font installed on my computer, and the other attachment is what Premiere is showing me I can use. Prior to my PC wipe and Windows 11, the full Prelo font showed up in Premiere.
So far I've tried uninstalling and reinstalling the font, signing out of CC and restarting and then getting back into it, to no avail. Is it something maybe with Windows 11?
Replying to say that after uninstalling the entire Creative Cloud and all my installed apps, and reinstalling, the font still was only showing up with the italic options. However, I closed and opened Premiere several times today and finally the whole font did show up. If anyone runs into the same issue, you might want to try all of that.
I understand, that italic correction (\/) should be used, to insert some space between italicized/slanted characters and upright characters, appearing directly after another. Though in my case, there should be no characters after the slanted text.
In this case there is no need for italic correction with \slshape since the following text will start in a new line and not directly after the slanted text in the same line. Anyway, it would certainly be inappropriate to add \/ directly after \slshape here since the correction needs to be added at the end of the slanted/italic text (\slhape lorem ipsumf\/ dolor not \slshape\/ lorem ipsumf dolor). Here the \slshape is not a group that prints anything, it is the argument of a command that determines the formatting of the theorem later.
Thank you so much for taking the time to explain. I just switched from Word to Affinity and am not sure this is the problem though. In Word, all these common fonts are easily made to italics or bold with one click. I imported my Word doc to Affinity to complete it and now am wondering if somehow Affinity doesn't recognize my file, and so is stuck. I just don't know and feel helpless. Thank you for trying to help .
I am using Affinity Publisher. I just tried opening a new document and the italics and bold work in the new document for all my fonts, but not in the document I imported from Word. Gosh, I would hate to have to start my book over
The only font I create a style for is Andika (body).... the other problem is that when I imported my Word document Affinity won't give me the usual style options. It's rather upsetting. I feel like I am going to have to start from scratch, or go back to Word.
I could try that. But I just tried something you suggested earlier. You said maybe the style I created was causing the problem. So I deleted the body style I created (which now made a mess), but now the italics and bold are showing. But only for that text frame. On the other text frame for another style I created, it won't show either unless I delete the style. Does that give us any more clues what could be happening. I suppose I could write it without any styles... not the best, but might work. Thoughts?
Good news! If I copy all my text into my notepad to remove the formatting from Word, then copy and paste it back into affinity, the italics and bold work! Now I still have to figure out why styles don't work.
I tried that but it didn't work. But it does work if I first remove all the formatting by copying it onto my desktop notepad. I suppose I can do that. Thank you so much for sticking with me! Any idea why my styles aren't working though?
Also depends on the fonts being properly configured.
What fonts were you were testing with?
And what Operating system?
If you are on a Mac, some of the Apple supplied fonts are purposely broken so the Bold and Italic buttons may not work properly.
Like @LibreTraining asked, it might be interesting which fonts cause issues. As just because other apps and programs provide bold and italic variants for them, those might be fake. IIRC Word (at least when I used it ages ago) just added an outline or skewed a font in order to provide a "bold" and "italic" variant of a font even if the font doesn't naturally provide either.
Suppose that I use Graphics, Text, and Style to type one letter in the subscript of a letter and one in the superscript of the same letter. In the Writing Assistant in Mathematica 9, I click the button to help typeset the string in this command:
Why do the letters A, B, and C appear italic, even though I did not specify them as such? I want the letters to all be regular font. The italicization does not happen if I take out the Graphics directive, and just use Text and Style. But I have to use Graphics because I will ultimately include it in a plot.
We sit down with Jeremy Cai, the CEO of new retail pioneer Italic, for a fascinating discussion of how they're upending the traditional manufacturer-brand-retailer model by taking the opposite approach of earlier DTC startups. Rather than elevating brand and cutting out retail, Italic cuts out the brand and lets the actual manufacturers (who you've never heard of but who make most of the actual products that J. Crew, Everlane, etc sell) market and sell direct to customers.
Who would have thought facilitating payments for Beanie Baby trades could be so lucrative? The only acquisition on our list whose value we can precisely measure, eBay spun off PayPal into a stand-alone public company in July 2015. Its value at the time? A cool 31x what eBay paid in 2002.
Ben: It's been great. I've seen your name so many times in Slack where you've been an active member of the community, and so many other Italic folks have been to. So it's really cool to meet you in person for the first time.
Jeremy: Fountain, it's still around. It's actually doing quite well. It's an enterprise hiring automation platform that a lot of the Fortune 500 used for hiring their hourly workers. Think of really, really large scale, high volume hiring and the software that you have to use to process, not individual hundreds of applicants, but in the millions.
Not Pot was a company that my girlfriend Kati and I started five or six years ago. It's really fun direct to consumer brands, so the exact opposite of Italic. But it's been fun to build that up, and that's been bootstrapped. Whereas Italic and Fountain were venture-backed.
Jeremy: It was amazing. I have to say, I think it's really come up over the years. One, as an Asian kid with Asian parents, you need some justification to be out of school for some reason. That really helped a lot because very low acceptance rate, very prestigious name obviously helped me make the case to my parents. But I think on the flip side, if anything, being a young founder in San Francisco in that era still wasn't, I think, as common to go drop out and start a company like it is today, even in just five, six years.
I think, if anything, it provided a really great community of like-minded people who all lived around the Bay Area. Over the years, a lot of these companies that were started by those early fellows have gone on and done very, very well. It's been really great to have a community to grow up with as opposed to, I guess, a college frat, dorm, or whatever it is to have a group of friends. It was a great experience.
Jeremy: Yeah, I think the biggest regret all of us have from the program is there was this one winter where Vitalik emailed the whole list and he's like, hey, man, you should buy this presale, and Bitcoin is dropping. I don't think [...] to be honest. There's a lot of stories like that. One thing we've learned is when you have a chance, it's more good than not to bet on a fellow fellow.
Jeremy: That's right. Was it DST that backed every YC company in a batch? I think that would have done pretty well if you did the same for [...]. They never took equity either. So that was very nice of them.
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