I am not sure I understand that question. You exchange eacute.001
for eacute.002
. Why would that not work?
Have you read Features, part 3: advanced contextual alternates | Glyphs?
I am not sure I understand that question. You exchange eacute.001
for eacute.002
. Why would that not work?
Have you read Features, part 3: advanced contextual alternates | Glyphs?
I’m just imagining managing these huge groups of glyphs.
A handwritten font lives from variations, and if they all have marks… Man, I’ve got some work to do.
Efficiency pro tip: If you have a
, a.alt
and acutecomb
, and you generate aacute
and aacute.alt
via Glyph > Add Glyphs (Cmd-Shift-G), Glyphs will automatically compose aacute
from a
and acutecomb
, and aacute.alt
from a.alt
(!) and acutecomb
. IOW, Glyphs is looking if the components are available with the given suffix.
You’r tip came right in time. I’m starting to build the OT features in the next days. I’m looking into setting up (sub) groups and have to build a structure to make this work. This is the first time I’m doing these complex features like LIGA, CALT and SWSH. I want to do it as clean and effective as possible, avoiding rendering glyphs or groups not functional.
If you know of any good reading material I’d love to hear it. It’s a steep learning curve, but I’m game.
Rainer: I’m looking to create something similar to your Sephora Script font. The way that ‘dances’ when you type is the OT features I’m looking to create.
We had special Python scripts that were generating the feature code for those. And it became very complex eventually.
.e
for all letters that connect with a following e (and other letters with a similar round shape: a, c, d, g, o, q and their diacritics).