As a follow up to my Ideographic Tally Marks article from over two years ago, the characters for two tally mark systems—ideographic (called 正の字 sei-no ji in Japanese, and 正字 zhèng zì in Chinese) and Western-style—are among the 684 new characters in Unicode Version 11.0 that was released exactly a week ago, and these seven new characters can be found in the existing Counting Rod Numerals block from U+1D372 through U+1D378.
I am pleased to announce that the Adobe-KR-9 character collection, which went through four drafts, is now available as a Beta release that includes all of the expected collateral pieces, to include two fully-functional OpenType fonts with all of its glyphs. The Adobe-KR-9 project includes the specification proper, along with most of the collateral pieces. The two OpenType fonts are available for convenient download on the latest release page.
The CMap resources are also available in the CMap Resources project, and an updated UTF-32.pdf file that includes a Unicode-based glyph synopsis for the Adobe-KR-9 character collection is available on the latest release page.
Japanese line layout is very complex, and the first attempt to standardize its rules and principles was in the JIS X 4051 standard, which was first issued in 1993 with the title 日本語文書の行組版方法 (Line Composition Rules for Japanese Documents in English). There was a revision issued in 1995, and the latest version was issued in 2004 with the slightly different title 日本語文書の組版方法 (Formatting rules for Japanese documents). Another important document is the W3C Working Group Note JLREQ (Requirements for Japanese Text Layout), which provides much of what is described in JIS X 4051, but covers additional areas, and is tailored toward web technologies. Although still considered working drafts, W3C is also preparing similar documents for Chinese and Korean as CLREQ (Requirements for Chinese Text Layout) and KLREQ (Requirements for Hangul Text Layout and Typography), respectively.
This article is not about these standards per se, which are intended for apps and environments that implement sophisticated line layout. Rather, this article is about harsher “plain text” or comparable environments that generally do not need such treatment, yet still benefit from a modest amount of context-based spacing adjustment, particularly to get rid of unwanted space between full-width brackets and other punctuation whose glyphs generally fill half of the em-box. App menus, app dialogs, and simple text editors are examples of where such adjustments can improve text layout in these modest ways.
The CMap resources that are associated with our public glyph sets—called character collections—were first open-sourced on 2009-09-21 via Adobe’s first open source portal, and about a year later the project was moved to SourceForge. I then migrated the project to GitHub on 2015-03-27 where it is likely to remain for the foreseeable future. The main purpose for open-sourcing our CMap resources was to make it easier for developers to include them in their own open source projects, many of which require that the components themselves be open source.
I then open-sourced three of our four character collections on GitHub—Adobe-GB1-5, Adobe-CNS1-7, and Adobe-Japan1-6—in October of last year. The Adobe-Korea1-2 character collection was intentionally not open-sourced, because it will soon be replaced by the Adobe-KR-9 character collection that is expected to be published in mid-May.
This article picks up where the 2018-01-18 article left off, and provides details about the fourth—and hopefully final—draft of the forthcoming Adobe-KR-9 character collection that was issued today.
The fourth draft of the Adobe-KR-9 character collection includes 22,860 glyphs (CIDs 0 through 22859) distributed among ten Supplements. When compared to the third draft, four glyphs were removed, only one glyph was added, a small number of glyphs were moved from Supplement 0 to later Supplements, and the ordering of Supplements 3 through 9 was changed. Because it is a draft, the details are still subject to change, though my hope is that this draft represents what will become the final character collection specification.
This is a brief article to report that the 16 SVSes (Standardized Variation Sequences) for eight full-width punctuation characters—U+3001 、 IDEOGRAPHIC COMMA, U+3002 。 IDEOGRAPHIC FULL STOP, U+FF01 ！ FULLWIDTH EXCLAMATION MARK, U+FF0C ， FULLWIDTH COMMA, U+FF0C ， FULLWIDTH COMMA, U+FF1A ： FULLWIDTH COLON, U+FF1B ； FULLWIDTH SEMICOLON & U+FF1F ？ FULLWIDTH QUESTION MARK—that I proposed in L2/17-436 were accepted for Unicode Version 12.0 during UTC #154 this week. After reading the Script Ad Hoc group’s comments, I prepared a revised version (L2/17-436R) that provided additional information as a response to the two comments, which included the table that is shown above, and this served as the basis for the discussions.
This all began with a proposal that I submitted four years ago, L2/14-006, which was resurrected as L2/17-056, and finally discussed during UTC #153 during which I received constructive feedback. This prompted me to split the proposal into two parts. The first part proposed the less-controversial SVSes, which are the ones that were accepted. The second part, L2/18-013, proposes the more controversial ones. I am fully expecting to revise the second part before it is discussed during UTC #155, which begins on 2018-04-30.
I would like to use this opportunity to solicit comments and feedback for L2/18-013, which would be taken into account when I revise it. (I also hope to receive feedback from the Script Ad Hoc group prior to UTC #155, which would also be taken into account.)
In closing, the 16 new SVSes should soon appear in The Pipeline.
This article picks up where the 2017-12-19 article left off, and provides details about the third draft of the forthcoming Adobe-KR-9 character collection that was issued today.
The third draft of the Adobe-KR-9 character collection includes 22,863 glyphs (CIDs 0 through 22862) distributed among ten Supplements. When compared to the second draft, three glyphs were removed, 254 glyphs were added, and the distribution of glyphs among some of the Supplements was changed. Because it is a draft, the details are still subject to change, though I suspect that any changes will be minimal at this point.
This article picks up where the 2017-10-01 article left off, and provides details about the second draft of the forthcoming Adobe-KR-9 character collection that was issued today.
The second draft of the Adobe-KR-9 character collection includes 22,612 glyphs (CIDs 0 through 22611) distributed among ten Supplements. When compared to the first draft, 35 glyphs were removed, ten glyphs were added, three Supplements were added, and the distribution of glyphs among some of the Supplements was changed. Because it is the second draft, the details are still subject to change—and most certainly will change, though I hope that the changes are minimal.
(この記事中の貂の写真はすべて Adobe Stock で見つけることができます)
English (英語) here
この記事の目的は、Typekit から提供される「貂明朝」(Ten Mincho) の書体とフォント開発について技術的詳細を説明することにあります。貂明朝は、これまでどんな日本語フォントも到達しなかった領域に足を踏み入れました。貂明朝の書体デザインについての詳細については、Typekit Blog 上の公式アナウンスメント (英語) の方をご覧ください。この長文の技術的な記事よりも、そちらの方に興味を持たれるかもしれません。公式アナウンスメントに述べられているように、この新しい Adobe Originals の和文書体にはユニークな特長が数多くあります。そのため、日本や各国の書体メーカー、タイプデザイナーの方々はこの書体からインスピレーションを受けられることでしょう。
(All of the marten photos that are used in this article can be found on Adobe Stock)
日本語 (Japanese) はこちら
The purpose of this article is to provide technical details of how the Ten Mincho—貂明朝 in Japanese—typeface and its fonts, which are initially being offered as a Typekit exclusive, were developed, and how they boldly go where no Japanese font has gone before. For more details about the Ten Mincho typeface design itself, which is probably much more interesting than this really long and technical article, I encourage you to read the official announcement (日本語) on the Typekit Blog. As stated in the official announcement, this new Adobe Originals Japanese typeface is unique in many ways, and should serve as inspiration for type foundries and typeface designers in Japan and elsewhere.
Today’s article provides useful details for our relatively small number of customers who author documents with our flagship Creative Cloud apps and make use of CID-keyed OpenType SVG fonts. A rather broadly-deployed CID-keyed OpenType SVG typeface is the open source Source Han Code JP family, whose development details are described in the very first section of this article.
While it is fully possible to build OpenType fonts—CID-keyed or otherwise—that include an 'SVG ' (Scalable Vector Graphics) table, the infrastructure to support them in apps is still maturing. That is the purpose of this article, so please continue reading if the details interest or otherwise affect you.
Earlier this month, I decided to move the Adobe-Japan1-6 character collection specification to the Adobe Type Tools organization on GitHub, which was partly motivated by constantly-changing URLs on our Font Technical Notes page. Another motivation was to make the specification itself easier to maintain. At some point, I will be adding a more complete list of Supplement 7 (aka Adobe-Japan1-7) candidates to its wiki.
To this end, I decided to do the same for the Adobe-CNS1-7 and Adobe-GB1-5 character collection specifications while on vacation in South Dakota. For the former, I also used the opportunity to update the specification to include Supplement 7 (aka Adobe-CNS1-7), by adding its representative glyphs and other details.
So, that’s three down, and one to go.
This is a very brief article whose purpose is to simply state that—due to recent events beyond my control*—the Adobe-Japan1-6 character collection specification is now an open source project that is hosted on GitHub as a new repository in the Adobe Type Tools organization.
Most of my morning was consumed by porting the original text from Adobe InDesign to GitHub-flavored Markdown, and, while I was touching the text, I decided to seize the opportunity to make several corrections and updates. The 500-glyphs-per-page representative glyph charts are now in a separate PDF file. I also used the opportunity to update the aj16-kanji.txt datafile, and also added the latest-and-greatest Adobe-Japan1-6 UVS (Unicode Variation Sequence) definition file. All good stuff, I think.
* Adobe’s IT folks apparently felt compelled to (once again) change the URLs for all of the font-related Adobe Tech Notes, including Adobe Tech Note #5078 (The Adobe-Japan1-6 Character Collection). Its URL is somewhat broadly referenced, including in the IVD_Collection.txt file of the latest version of the IVD (Ideographic Variation Database). The bottom line is that I needed a stable URL.
It is difficult to imagine that it has been over 20 years since a new RO—or Adobe CID-keyed glyph set—was born. Of course, I am referring to the static glyph sets, not the ones based on the special-purpose Adobe-Identity-0 ROS.
“RO” stands for Registry and Ordering, which represent compatibility names or identifiers for CID-keyed glyph sets that are referred to as character collections. Adobe CID-keyed glyph sets are usually referred to as ROSes, with the final “S” being an integer that refers to a specific Supplement. The first Supplement, of course, is 0 (zero).
One of my recent projects is to revitalize and modernize our Korean glyph set, Adobe-Korea1-2 (see Adobe Tech Note #5093), which was last modified on 1998-10-12 by defining Supplement 2 that added only pre-rotated versions of the proportional and half-width glyphs that are referenced by the effectively-deprecated 'vrt2' (Vertical Alternates and Rotation) GSUB feature. Instead of defining a new Supplement, I decided that it would be better to simply define a completely new glyph set for a variety of reasons. The tentative Registry and Ordering names are Adobe and KR (meaning “Adobe-KR”), and unlike other ROSes for which Supplements are defined incrementally, my current plan is to simultaneously define seven Supplements, 0 through 6.
Per a suggestion by a friend named Leroy, I recently renamed the multiple-style and multiple-family OTCs (OpenType Collections) in this open source repository which includes such OTCs that are based on the Adobe-branded Source Han and Google-branded Noto CJK families. These multiple-style and multiple-family OpenType Collections were described in this article from April of this year. The purpose of this particular article is to introduce better names for them besides Super OTC.
First, some background about Super OTCs…
Shortly after Source Han Sans and Noto Sans CJK were released, I came up with the idea of creating a single OpenType Collection that includes all languages and all weights, and the name Super OTC was coined. This was included in the Version 1.001 update (2014-09-12) as a fourth deployment format for both families, and each one included 28 fonts. These were expanded to 36 fonts when the HW (half-width, ASCII-only) fonts, which covered only the Regular and Bold weights, were added as part of the Version 1.002 update (2015-04-20). Source Han Serif and Noto Serif CJK included a Super OTC in their Version 1.000 release (2017-04-03).
There has been a flurry of IVD (Ideographic Variation Database) activity this year.
First, UTS #37 (Unicode Ideographic Variation Database) was updated at the end of January to allow characters with the “Ideographic” property to serve as valid base characters in an IVS (Ideographic Variation Sequence). This effectively means that the Tangut (西夏文) and Nüshu (女书/女書) scripts can now participate in the IVD.
At seemingly every opportunity, whether via this blog or during public speaking engagements, I have made it abundantly clear that the Adobe-branded Source Han families share the same glyph set as the corresponding Google-branded Noto CJK families. That is simply because it is true. What requires a bit of explanation, however, is how the two typeface designs—Source Han Sans and Source Han Serif—differ. That is what this particular article is about.
As the Project Architect of these Pan-CJK typeface families, I have my fingers on all of the data that was used during their development, and for preparing each release. I can therefore impart some useful tidbits of information that cannot be found elsewhere.
To take the previous article further—and because I tend to have an urge to stress-test environments—I added two more Super OTCs to the Source Han Super OTC open source project this morning.
The release of Source Han Serif earlier this month, on 2017-04-03, gave me an opportunity to build yet another resource for stress-testing environments, particularly those that consume OpenType/CFF Collections. (This also continues to simplify file management by combining three Super OTCs into a much larger one.)