Today is Friday, July 1st, 2016, which is a date that has a special significance for me. I am publishing this from Hot Springs, South Dakota where I am enjoying a few days away from work.
My life was put on a new path exactly 25 years ago, on Monday, July 1st, 1991. I was 25 years old at the time, and I am therefore 50 years old now. It was on this date that I started working at Adobe as a member of its Type Development team. My employee number is 879, though at the time there were approximately 500 employees in total. It was a much smaller company back then. As you can see from my very first business card below, I was involved in things related to Japanese type from the very beginning:
This event effectively launched a 25-year career that is still going strong, and which has been in the same department doing essentially the same thing, though the technologies and related standards have changed or evolved.
The rest of this somewhat lengthy article will be used to highlight some of my accomplishments during each five-year period.
This will be a short, sweet, and to-the-point article. Sorry, no graphics nor photos.
When developing name-keyed fonts, glyph names matter. They matter a lot. When developing new fonts, the glyph names should either be explicitly listed in AGLFN (Adobe Glyph List For New Fonts) or derivable via the AGL Specification. Glyph names that adhere to AGLFN or the AGL Specification result in fonts with well-formed 'cmap' tables, which means that their glyphs will behave better in a broader range of environments. I cannot stress the importance of this.
CIDs (Character IDs), on the other hand, represent a completely different beast. If a font is genuinely CID-keyed, it means that there are absolutely no glyph names, regardless of whether the source font or fonts that were used to build the CID-keyed font were named-keyed. Once a font resource becomes CID-keyed, the original glyph names are literally jettisoned, and the only way in which to map Unicode values to glyphs is via the 'cmap' table, which is usually done using a UTF-32 CMap resource. In other words, when developing fonts that are intended to be deployed in a CID-keyed fashion, the source glyph names play absolutely no role in how such fonts are processed.
By ESO/José Francisco Salgado (josefrancisco.org) — ALMA antennas under the Milky Way
Five years ago, I wrote this article that described how to manage XUID arrays. Then last year, I wrote this article that suggested that XUID arrays are no longer necessary.
Anyway, there are two messages that are being conveyed in today’s article.
The first message is short and sweet, and meant to be strong: Adobe advises against including XUID arrays in all new and updated font-related resources, meaning fonts themselves and their corresponding CMap resources. The good news is that omitting the XUID array represents one less thing to worry about during font development.
The second message is longer, meant to provide some background information, and describes why Adobe advises against including XUID arrays in font-related resources.
One of my more popular open source fonts is Adobe Blank, and to a less extent the related Adobe Blank 2 because it uses a 'cmap' table format, Format 13, that is not broadly supported. Actually, Adobe Blank provides absolutely nothing, because it maps all 1,111,998 Unicode code points to a range of 2,048 non-spacing and non-marking glyphs, yet such a font is useful for particular scenarios, such as addressing the FOUT (Flash Of Unstyled Text) problem.
Allow me to introduce Adobe NotDef, which is modeled after Adobe Blank in that it covers all of Unicode and maps to a range of 2,048 glyphs, but differs in that the functional glyphs are spacing and marking. The original suggestion for Adobe NotDef came from Dave Crossland. The glyphs match the shape and advance width of the standard Adobe .notdef glyph that is invoked in environments that do not support font fallback when the selected font does not include a glyph for a particular character, and as Dave wrote, Adobe NotDef is useful for font fallback purposes in that it can be used to prevent the display of non-standard .notdef glyphs that may be present in some fonts in the font fallback chain.
The Unicode Consortium celebrated its 25th anniversary in January of this year. The photo above is the celebratory (U+1F955 CARROT; a Unicode Version 9.0 candidate) cake that was enjoyed during the UTC (Unicode Technical Committee) #146 meeting that was hosted by IBM in San José from January 25th through 28th, 2016.
Plane 2, the SIP (Supplementary Ideographic Plane), is almost full.
Right off the bat, in Unicode Version 3.1 (March of 2001), Extension B filled it nearly two-thirds of the way with its 42,711 characters, along with 542 CJK Compatibility Ideographs. Extension C with 4,149 characters was added in Version 5.2 (October of 2009), Extension D with a mere 222 characters was added in Version 6.0 (October of 2010), and Extension E with 5,762 characters was added in Version 8.0 (June of 2015). On tap for Unicode Version 10, scheduled for a June of 2017 release, is Extension F that currently includes 7,473 characters (U+2CEB0 through U+2EBE0).
That’s the title of the eleventh episode of the second season of The Simpsons which originally aired in early 1991.
This article will instead be about the history and evolution of the blowfish image that graces the cover of my books that were published by O’Reilly Media. The following is the first paragraph of the Colophon of CJKV Information Processing, Second Edition:
Actually, we do.
As pointed out in Matthew Rechs‘ recent and excellent Typekit Blog article about Unicode’s Adopt a Character campaign, these badges were designed by the very talented Jake Giltsoff of the Typekit team at Adobe. Mine for U+1F421 🐡 BLOWFISH is shown above.
It seems that I am on roll, having released two new open source fonts on GitHub within the past week. The previous—and brief—article that was about the LOCL Test OpenType/CFF font simply pointed to the repository. This article will be longer. I promise.
Inspired by the font that I prepared for and referenced in the previous article, I decided to launch a dedicated open source project for this useful test font, LOCL Test.
Although this article shares its title with an article from four years ago that was about the excitement associated with attending ATypI Hong Kong 2012, this particular one will focus on efforts to properly support Hong Kong SAR (aka HK or Hong Kong) in the Adobe-branded Source Han Sans and Google-branded Noto Sans CJK typeface families, but also in infrastructure, such as OSes and apps.
In other words, this article is not about traveling to Hong Kong, but rather about properly supporting Hong Kong in OSes, apps, and fonts.
A peculiar series of events that took place on April 1st (no joke) and 2nd of this year led to the discovery of what can only be described as somewhat of a revelation: A small number of CJK Compatibility Ideographs are necessary for China. This is important, because I made the following statement on page 168 of CJKV Information Processing, Second Edition:
One of the most powerful font-development tools available today is tx (Type eXchange), which is included in AFDKO (Adobe Font Development Kit for OpenType) and whose sources are available on GitHub. Despite its two-letter name, this command-line utility is packed with an enormous amount of features and functionality.
Four years ago I wrote a similar article, but it seems like a good time to revisit tx and the useful things that it can do. I still recommend that its “-u” and -h” command-line options be used to explore its vast capabilities.
—Humans make mistakes—
—Anything made by humans has the potential to include mistakes—
The most important things about mistakes are that 1) we recognize them, lest they propagate; 2) we learn from them; 3) we make an effort not to repeat them; and 4) we try to fix them, if possible.
Some mistakes are more easily fixed than others. Mistakes that cannot be fixed must be worked around.
With that said, an interesting event of historical significance occurred in June of 2000:
The first version of the IVD (Ideographic Variation Database) was issued on 2007-12-14, meaning over eight years ago, and there have been three subsequent revisions, the latest being issued on 2014-05-16. There are currently three registered IVD collections: Adobe-Japan1, Hanyo-Denshi, and Moji_Joho. A significant number of IVSes are shared between the latter two IVD collections, 9,685 to be exact. While I cannot speak to the latter two IVD collections, the Adobe-Japan1 one is supported by hundreds of OpenType fonts via the Format 14 (Unicode Variation Sequences) ‘cmap‘ subtable. Furthermore, the number of apps and OSes that support UVSes has reached critical mass.
With all that said, there is a rather substantial missing link in terms of IVD support infrastructure: the all-important input method.
The next UTC (Unicode Technical Committee) meeting, the 147th one, takes place during the week of May 9th, and will be hosted at the Adobe headquarters in San José, California. All members of the Unicode Consortium, especially voting members, are encouraged to attend.
Much of the thinking that I did with regard to this unregistered—but hopefully soon-to-be-registered—IVD (Ideographic Variation Database) collection was done while visiting my parents in South Dakota, with one of the highlights of that trip being a scenic drive through Badlands National Park.
First and foremost, please forget, or at least ignore, most everything that was written in the 2016-02-13 and 2016-02-20 articles (which makes one wonder why I am linking to them, but I digress). Far too many things have changed, and what I present in this article represents the IVD collection that I hope will be registered later this year.
Continuing where I left off with the first article about this subject, I’d like to point out some of the implementation details and their ramifications in this article.
One of my longer term goals for the open source Source Han Sans project has been to eventually register a Pan-CJK IVD (Ideographic Variation Database) collection that would allow the regional variants to display and be preserved in “plain text” environments, and I think that I may have achieved a breakthrough the other day.
CJK Unified Ideographs is a very deep and fascinating subject, and there are people who sometimes— and anecdotally—claim that it is a bottomless pit (or infinite tunnel, hence the quote in this article’s title). The latter may appear to be accurate, especially when one considers what is happening on that front, such as Extension F with its 7,473 new characters slated for Unicode Version 10.0 in June of 2017, and with work on Extension G commencing.