The idea is that they can be vertically displaced along the respective italic angle while still retaining automatic alignment. nominators, denominators, superior and inferior figures, punctuation and letters, but also modifier letters and the like. Minor: all glyphs, mostly figures, that are drawn smaller than usual and are differentiated by their vertical displacement, e.g.Small Caps: all typographic small and petite capitals that are supposed to trigger c2sc, c2pc, pcap and smcp OpenType features.Lowercase: all corresponding small letters of such scripts.Uppercase: all caps of scripts that casefold, like Cyrillic, Greek, Georgian, Adlam, Armenian, Glagolitic, Old Hungarian, Latin, and some more.Good way to spot your glyph info interventions right away.Ĭase is not an afterthought of the Subcategory anymore, it is now its separate class. Hovering your mouse over it will display a tooltip explaining that this glyph has ‘manually set glyph info’. Note the little info symbol in the top right of its cell. Access the text preview via Window > Text Preview: You asked for it, you got it: you can now preview long texts set in your instances, rendered with Apple’s CoreText. We have gotten used to them pretty quickly though, and we believe you will too. Most prominently, Tidy up Paths, Reset Anchors or Create Composite have new shortcuts.

And Opt is now reserved for all-master action. Keep in mind that we had to change some of these keyboard shortcuts, though only those that used to have the Opt key in previous versions of Glyphs. Working with many masters has just become a lot easier.

context menu on one or more node pairs: Reconnect Nodes.

context menu on one or more nodes: Open Corner.

context menu on an individual node: Make Node First.

Paths > Correct Path Direction (Cmd-Shift-R).

Glyph > Decompose Components (Cmd-Shift-D).

In order to fit it all onto the keyboard, we had to change a small number of keyboard shortcuts: If you hold down the Option key while you choose from the drop-down menu, all editing commands are now available for all masters. That way you can have an intermediate layer on an alternate interpolation. You can even combine both layer types in one and the same layer. Select the path, or a part of it, then choose Focus on Selected Paths from the context menu:Īlternate Layer: formerly known as Bracket Layer, an alternate master for the glyph in question, kicking in at a specified axis coordinate. While editing a complex glyph, you may want to exclusively edit one path, and keep the other paths as they are. Also through the context menu, you can Expand Outlines in order to get the closed final outlines as they would appear in the exported compiled font. Once you have set up a graphic style of a path, you can Copy and Paste Attributes from one path to another via the context menu.

Stroke endings (available both live and in the Offset Path filter): select a path ending (the first or last node in an open path), and then choose any of the available line butt styles displayed on the little buttons in the bottom right corner.

Useful for stencil designs, and for illustrations. Control shape order through Filter > Shape Order.

Mask: if a closed path is defined as masking, then it will be subtracted from any pre-ordered shapes.

Fill: fill color or gradient of a closed outline.

If you want a more precise distribution, consider a higher Subdivision in Font Info > Other. Example: 11 units will result in an expansion of 5 units on the inside, and 6 on the outside. However, if it is an uneven number, the outside expansion will receive the extra unit. The latter will spread half the expansion on the outside, and half inside.

Stroke placement: inside, outside or expanding equally in and out.

Stroke width: width of the expanded stroke in units.

But now, it is live and visible within Edit view, and you get to apply all kinds of graphic attributes: In the past, this has been possible already with filters like Offset Path and their respective custom parameters.

Glyphs font free