At text sizes, Optical kerning leaves things kind of tight overall and otherwise just slightly off. But what I really worry about is when Optical kerning is applied unknowingly and nobody catches it-in body copy. Note how Optical sets WA a little loose, and LT and ER tight?įor display work, you’ll probably be able to spot this stuff and fix it. The above is InDesign kerning FF Legato based on-respectively-the font’s metrics set by its designer, the font’s spacing values only (no kerning), and based on an algorithm that discards both spacing and kerning values and comes up with its own. Setting it to Optical ignores the kerns in the font data, and essentially makes a spacing exception between every character, meaning that it’s more than the troublesome pairs who need it that get kerned, everything gets kerned by a robot that’s not very good at kerning. Here’s what zero does, and what Optical does: Setting the kerning value to zero ignores the kerns in the font data. Don’t set your default to zero, and don’t set it to Optical. Do this by setting your default kern settings to Metrics in InDesign, and Auto in Illustrator. Take advantage of the kerning that comes built into your fonts. The main message of last week’s piece on kerning is that you should only kern what you have to. Just to make it extra clear while we wrap the subject of kerning, I do have a preference on kerning defaults, and you should too. What questions am I missing? And thanks also to Century Expanded Std for its lead role in today’s story, as well as a thanks to Peter Verheul’s Versa Sans. Proper nouns, such as author names, are often the sneakiest kinds of information that come bearing requirements for glyphs that even your Pro fonts may not have in stock. When will I most likely need to pull a stunt like this? And your spacing is bound to be thrown off slightly on the right side of the substituted character. It gets kind of dicey applying styles on top of styles. You could flow all your text in, set it in a system font so that all characters are represented, make that into a paragraph style, and carefully set up some GREP styles that substitute the missing characters with their tightly-tracked replacement characters (which each have character styles applied to them). Say it’s for print only, isn’t there a smarter workflow than the above? And on the web, in a PDF or whatever, indexing engines will choke on your fake characters. Otherwise, you run the risk of having to make and remake these fixes with every revision’s reflow of the text. If, for example, it’s a print piece and you’ve got control of the entire process, and the substitutions are relatively few, go for it. Now replace all instances of the newly fabricated characters with their replacements.Īlmost always. Now do it for all accented characters that are missing. Put the cursor in between the two, and kern them closer until the macron is in place. We type in the a, then double click the macron to insert it after. If we look in the Glyph palette, there’s a macron waiting there for us, all by itself. In this example, the accented character that’s missing up top is a lowercase a with macron. In case you didn’t notice the blips in the text above, they’re marked below: The best way to deal with it is often always to upgrade to a font with a Pro character set, but, when you’ve got to work with what you have, you make do. Yes, it’s a problem you generally get only when the fonts you’re working with contain limited standard (non-Pro) character sets. In their place, a disruptive, boxy, Not Defined character. You flow in your text, and then you notice something odd. I do not want to use the already existing commands like \textsc, \Large or \footnotesize and if it's possible I prefer a command with an argument. How can i make a new command that increases the space in between the letters.
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