Hello,
I like the idea of using masters in Glyphs, but…
What if I’d like to kern a special pair from a middle instance? Like “Ti”. In Light Instance “i” goes under the T’s bar but in Bold Instance there is no space for it.
I mean that somewhere between instances there is a threshold where kerning should be manually adjusted.
Do I need to import exported font again and fix it?
How to solve it?
Regards.
This is a really good question 
Will look into this. I thought about that before but I use Multiple Master for years now and it was never necessary.
btw. How do you get a i under the T? My dots are usually on the same height as the T’s bar.
Turn your middle instance into another master. You aren’t limited to just two of them.
You can add another master but then you need to draw all other glyphs and do then kerning only because of the kerning in a few pairs. I will think about that. I hope I come up with something.
You can add another master but then you need to draw all other glyphs and do then kerning only because of the kerning in a few pairs.
Why draw them? He can just interpolate the instance, add it as a master, and then make the kerning changes. Actually, this brings up a feature request I keep meaning to send you. In Superpolator I can generate in instance and add it as a master. This would be very useful in Glyphs as well.
What reasons for an intermediate master could you think of?
• So we have the optical adjustments that can be dealt with the extra layers (Bold [100])
• The not continues Kerning.
Anything else?
What reasons for an intermediate master could you think of?’
Interstitial masters are an easy way to minimize time spent cleaning up rounding errors and other problems that appear in interpolated instances. For example, in Lorimer I had a light and black master and used them to create the semibold. When I was done cleaning up semibold I added it as a master and was able to interpolate regular and bold with almost no problems to correct.
I also would not want to manage optical adjustments with extra layers in fonts that have numerous optical adjustments. Extra layers make a lot of sense when g and y are drawn differently in the heaviest weights. But in faces that have dozens of optical adjustments it would be easier to just have another instance than to keep track of all the different letters with extra layers.
@DTF
Can you show me a font that has problems with rounding errors in an instance (maybe delete all but the one glyph)?
Of cause, if you have more than a few glyphs that need adjustments, it makes sense to use an extra master.
My question aimed at other cases that I might find better solutions for, like the extra layer thing.
Georg, I sent you an email with an interpolated font and the corrected version. The corrections are mostly minor, but fixing them in that semibold font allowed me to generate the other two instances with very few corrections.