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Kerning


preacher

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KERNING

Basics about kerning and the detection of it

 

 

First of all, the most important thing to know is the defenition of kerning: kerning is the adjustment of space between pairs of letters to make them more visually appealing. Some type comes with kerning pairs, commonly kerned pairs of letters with the spacing already adjusted for best visual appearance.

By a small tutorial it should be possible for anybody to detect kerning.

 

1. Get the Cabinet tutorial package. ( http://igorsag.on.neobee.net/kern/cabinet.rar )

This package contains PostScript aswell Truetype fonts. One version is kerned, the other isn't.

 

2. Extract the files.

Watch the size of the PFM file (you can do this for PostScript fonts only).

Printer Font Metrics (PFM) files contain font metric information used by applications for laying out lines of text in a document. Larger filesizes indicate more kerning information, filesizes of ~698 bytes indicate standard kerning only.

 

filesizes.gif

 

Even if Cabinet-Regular was named CabinetUnkerned-Regular and visa versa, it should be possible to say which version is kerned and which isn't just by the filesize.

 

3. Open the PFB (or TTF or OTF) file in FontLab.

Choose: Window > New Metrics Window. Switch from M (Metrics Editing) to K (Kerning Editing).

 

fontlab.gif

 

4. Press Kerning Dialog to view the Kerning Information.

Kerned fonts do have kerning pairs; unkerned fonts don't.

 

CabinetUnkerned-Regular (0 kerning pairs)

dialogunkerned.gif

 

Cabinet-Regular (1070 kerning pairs)

dialogkerned.gif

 

5. Close the Kerning Dialog window.

Change the text from 'ABCabc' to 'Water.'; the effects of the kerning (or the lack of it) should be visible. The 'a' aswell the '.' should be corrected by the kerning information. Please note the differences.

 

CabinetUnkerned-Regular

waterunkerned.gif

 

Cabinet-Regular

waterkerned.gif

 

6. Especially text (sans and sans-serif) fonts should be kerned. Be aware that some type of fonts don't need kerning.

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  • 3 weeks later...
  • 2 weeks later...

Jedna mala stvar: svaki napravljeni font ima ugrađen kerning, koji ugrađuje dizajner fonta, u jedinicama koje su uslovno nepromenjive. E sad, stvar je u tome da je potrebno uraditi kerning za sve parove karaktera, tako da mnogi pribegavaju kopiranju kerninga iz nekog već postojećeg fonta, što naravno ispada neadekvatno u 99% slučajeva. Baš zbog toga, aplikacije iz Adobe CS paketa imaju optički kerning kao novu opciju, da se ne bi koristio onaj koji je predefinisan.

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dodatni zaheb je sto ako je i uradjen savrsen kerning za sve parove to samo delimicno resava problem, jer opticka ravnoteza reci/teksta ne zavisi samo od medjusobnog polozaja susednih slova, vec ide dublje u sirinu... tako da pesacenje kod headline-a ne gine (o logotipima da ne pricamo)

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Dobro, fora je baš u tome da se gledaju svi parovi slova, tako da nema nekog velikog uticaja kompozicija reči, pošto recimo W i e imaju određeni razmak, a T i o neki drugi, i zadržavaju ga na nivou para sve vreme. Ali je problem baš to što svaki par mora da ima određeni razmak, što malo ko poštuje kad radi font.

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nesporazum.

 

hteo sam reci:

mozes ti da iskernujes parove (P i A) i (A i S) na primer, ali kad napises PAS, to ne znaci da ce ta rec imati dobar kerning jer su parovi kernovani kako treba... i slova P i S opticki uticu jedno na drugo, a taj medjuodnos (kod vecine fontova) nije definisan, vec je kerning radjen samo na nivou parova ali ne i trojki slova... ako se dobro secam, neki emigre fontovi imaju i po 15.000 kerning kombinacija...

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  • 8 months later...

Imam ponesto da dodam.

 

1. Kad se vec prica o ovome, sto lepo ne koristite opsteprihvacen tipografski termin shpacija. Mislim da bi bilo lepo.

 

2. Sto se tice broja 150.000 kerning kombinacija, moram opet reci da se tu koristi termin "parovi" a ne kombinacije, jer se radi o parovima slova.

 

3. Za broj 150.000 prvi put cujem ali mi lici na tabelu 150 standardnih kerning parova, za koje se podrazumevaju definicije ako je u fontu uopste to definisano. Quark npr. ima po default-u definisanu tu tabelu, za slucaj da podesavanja ne postoje u fontu.

 

4. Opticki kerning je zaista, zaista dobra stvar. Ali ipak proverite kako tekst izgleda i u METRIC varijanti. Ja obavezno probam i jednu i drugu varijantu, pa vidim kada tekst izgleda bolje. Licno, mi se veoma svidja to sto su uradili momci iz Adobe-a, ali mi je u 2-3 slucaja Opticki napravio probleme. Mislim da su u pitanju bili YU fontovi, za koje svi znamo kakvi su. No, ima tu jos nesto, kada shpaciju definise dizajner koji je dizajnirao pismo, mislim da prema tome, ipak, treba imati postovanja.

 

No sve je, ipak, stvar licnog izbora. Ja, kao sto vec rekoh, probam uvek obe kombinacije.

 

Pozdrav.

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