Serial Number Fontlab 5 Mac
Takeshi Krueger
4.3. Set ISV to: fontlab and enter your serial number in the License Activation Key field.
This is the only place where you will enter the serial number. You will not need to enter the serial number on the workstations.
4.4. In the License Server or Node-lock hostid text box RLM automatically prints the host ID of the computer. This host ID will be used as an anchor for the generated license.
4.8. If the process does not finish successfully an error message will be shown. Try to repair the situation and perform your request again. If you have any trouble, please send us a problem report at support.fontlab.com.
Edit the file in a text editor and replace the parameter with the network name or numeric IP address of your server - the one where the server RLM program was just installed. The server name or IP address must be pingable. In other words, sending the command ping to this name or IP address from workstations must work successfully.
The result file can look like the following examples:
HOST our_best_server ANY 5053ISV fontlab
or
HOST 192.168.1.5 ANY 5053ISV fontlab
All the numerals of a font should have the same width. Otherwise tabular settings look untidy. (In a display face that nobody would use for columns of numbers, you can space them the same way you space the letters.)
Next look at the numeral 2. It is in the fourth column from the left. And it is flanked by pairs of the other numerals. It may not fit comfortably between the numerals 1 which may be, as we have seen, slightly off center. It will no doubt look fine right below it between two of its own kind. Look carefully for uneven spots in the rest of the column.
When you install a Fontlab product, the license is linked to a specific computer. If the computer changes, or the hardware configuration of a computer changes, the license won't recognize the new computer and you get an error message.
If you have your serial number but it is not accepted, you'll need a new license file linked to the new computer. Submit a support request via our online form. In that request please include your serial number. We will be happy to get you up and running.
You can buy educational licenses directly from our online store. Use the links below, or contact ord...@fontlab.com if you have questions. Fontlab Ltd is a Panama corporation and does not have a US tax ID or European VAT number.
If your institution is in the U.S. and requires a US tax ID, or if you wish to pay by cheque, please contact our U.S. educational distributors: Creation Engine or Academic Superstore. Edu prices at our distributors may vary.
This post covers the things that were relatively minor for Protest. I need to give a caveat here. My font has specific needs (as any font does), and compared to text types is limited in scope. So while these features are minor for Protest, they could be a bigger deal for other fonts.
All I need to do in this case is use a ligature substitution. A ligature substitution (also called a GSUB LookupType 4) replaces multiple glyphs with one glyph. The syntax is basically sub by ; where the glyph series is the number, a slash, and another number, and the glyph replacing them is a single fraction glyph.
feature frac # Fractions sub one [slash fraction] two by onehalf; sub one [slash fraction] three by onethird; sub one [slash fraction] four by onequarter; sub two [slash fraction] three by twothirds; sub three [slash fraction] four by threequarters; frac;
Note: these classes must have the same number of items, and their respective diacritical marks must be in the same order. The GSUB LookupType 1 substitution looks at the sets, then compares and substitutes the contents in order. If I have sets [a, b, c, d] and sub by [A, D, B, C], then a maps to A, but b maps to D, c maps to B, and d maps to C. I can make sure the diacr and diacr.case classes have the same number and order in the Classes panel.
Unfortunately, I have a lot of files where I used Type 1 fonts. I would like to continue using the files. Replacing fonts with InDesign's own tool (Type > Find/Replace Fonts) is too time-consuming. That's why I'm looking for a script that automatically converts Type 1 fonts to OpenType fonts.
I currently have the Type 1 version of the affected font installed. I would uninstall it and then install the OpenType font version. When opening an InDesign file, the script would run and replace affected fonts. (If it works with a double click in the scripts menu would also be enough). It is important that not only the fonts are changed in the text itself, but also in all paragraph formats. And that the fonts that are no longer installed at the time are also replaced.
I did some tests using Fontforge (free font software), fontlab 5, and OTMaster 7.9 and even when all the names (psname, full font name, family name, etc...) are the same as each other, Indesign realized the font is not type 1 anymore and ask to replace to another font)
Then I copied the Aldus font folder to my desktop, converted the Type 1 version to .otf with TransType, and dragged the .otf version into my user>Library>Fonts folder and Indesign saw the font and updated the text:
Fontographer has been phased out in favor of FontLab. Macromedia hasn't updated/upgraded Fontographer since 1996. There have been a few incrimental updates, nothing of real big notice (mostly tiny patches). You have to search Macromedia's site for any notice about the program; they focus all their attention to Dreamweaver, Flash and Freehand. There are no plans to update Fontographer.
From what I've read, FontLab's drawing and metrics functions are far superior to Fontographer's. Fontographer had pretty good drawing tools, but I was more comfortable drawing my letterforms in Illustrator and importing them as .eps vectors (it's kind of a pain).
I found Fontographer a bit difficult to navigate at first, but I'm used to it now, and it's pretty simple....I am using Illustrator to do the drawing/tracing/monkeying and importing the files into Fontographer...seems to work pretty well, as long as I don't mess up the compound paths in Illustrator.
I do plan on doing some other teams...I have numbers for the Phillies, Pirates and Astros done...the hard part is finding quality samples of the lettering for tracing purposes. It's times like this that I wish I had access to the MLB Style Guide...
awesome man. You beat me to it! I've started working on getting the letter and number forms for a number of MLB teams, just started, until I can get a type program. I've got the red sox wraped up, but I'm holding off until I get a type program. Those look awesome and I look forward to the actual fonts being released by you!
In short: a significant number of fonts have inconsistent metrics between their WinAscent/WinDescent and Ascender/Descender/Line Gap values. Since Dorico does not use typo metrics for font rendering, but rather the dedicated Windows and Mac metrics, this causes fonts to appear differently when projects are opened and exported cross-platform.
I encountered similar problems with FontCreator v3.5 and FontLab v5 in 2005 when I used to license my old NorMusic fonts to Gvox (Passport Design) for use with their notation software, my fonts were clipping on Windows, I then have realized that the BBox bottom (Safe top) must match the Descender and the BBbox top (Safe bottom) must match the Ascender, of course the Gap would equal to zero.
Suppose that I have a font in a modestly popular format (.ttf, .otf, etc.), and I have the legal rights to modify it. As it stands, it is a normal font with different charaters (glyphs?) varying in widths and spacings. How would I go about turning said font into a monospaced font (e.g. all characters are same dimensions, etc.)?
If possible, are there any automated tools that can do some of the guesswork for you? (The results don't have to be perfect.) The font may be large (many characters), and editing it could be tedious.
Disclaimer: Sorry if this is considered a simple howto, but Google has very little information on the subject, and for a programmer that doesn't deal with graphics or fonts much, it sure isn't simple. Also, sorry if my terminology is off... :P
If you don't already have any font editing software, the good news is that Fontforge is free and open source. The bad news is that it has a relatively high learning curve and a somewhat unusual user interface.
Basically, for a font to be considered monospace, every glyph has to be the same width, right down to the exact same number of units. This includes even glyphs that should normally be zero width, or a certain width (such as em spaces, em dashes, etc).
I came across this very problem trying to edit source code making heavy use of Unicode symbols. In that context, most of the source code is displayed in one monospace font, and a few symbols that are not covered by that font end up ruining alignment.
Though it's true that "monospacifying" a full font will yield horrible results (kerning, stroke widths, and general balance will all be entirely messed up), importing just a few symbols from a variable-width font into a monospace one yields decent results. The animation below shows using Consolas + Symbola as a fallback, versus using Consolas + a monospacified version of Symbola:
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