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Centerline with wide outline and rounded caps
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CHAPTER 15:
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Creating Your Own Font
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It s beyond the scope of this book to describe how commercial, professional fonts are created, not because CorelDRAW doesn t have the tools, but because typography is an art unto itself and requires many years of developing the skill and knowledge to produce such contemporary classics as Garamond, commonly credited to Tony Stan in the 1970s The typeface you re reading in this book has serifs (the small extensions to the stroke stems on each character), and Roman-style typefaces have thick and thin stems that need to be carefully calculated for character consistency and legibility at small point sizes Therefore, creating a commercial typeface that you could, for example, sell for $300, is not the point of this chapter You need both an artist s skills in CorelDRAW and a typographer s skills to make the big bucks However, you can indeed make interesting fonts for personal and in-house use and make symbol fonts This chapter is intended as a guide to making a basic typeface and to exporting the characters to TrueType file format
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As covered in 10, Artistic Media Pens can be used by click-dragging on a page with the tool, or the media that surrounds any path can be applied at any time by using the Artistic Media docker Artistic Media presents a wonderful opportunity to make elegant characters from a skeleton path, and it s also a great timesaver, as you ll soon see To qualify as a bona fide TrueType and Type 1 character in a digital font, Artistic Media strokes need to be simplified before you export them: digital fonts must consist of only paths (usually closed paths) to indicate the shape of a character, while the space outside the path is empty space (the inside of the letter o, for example) Artistic Media strokes, at least most of the presets that ship with CorelDRAW, can consist of several objects Therefore, an Artistic Media character needs to become a single object before it s exported But let s tackle first things first Basically, no one but you can tell you what your own typeface s characters should look like; but in English-speaking countries, you re probably best off with a capital A that looks like two strokes converging at the top with a crossbar somewhere in the center you get the idea Therefore, your best working tool is probably the B zier Pen Tool because it handles both straight strokes and curves, and you can use the Arial font on the Master Guides layer to determine a centerline for your font creation, just to get you started A centerline is necessary to provide a skeleton upon which you hang Artistic Media strokes It s much easier and provides character consistency to first make a centerline for a character and then to apply an Artistic Media stroke than to go click-dragging with an Artistic Media brush from the get-go
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CorelDRAW X4: The Official Guide
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Let s cut to the chase: in the illustration here you can see an alphabet composed of paths Notice that this skeleton for a typeface is a little unusual: it s narrow and the crossbars for characters are lower than you might expect It s also not a complete alphabet: there are no lowercase letters and only the essential punctuation marks There are two reasons for presenting this example First, you ll be able to get through the tutorials in this chapter faster if you have fewer characters to create, and second, a typeface doesn t necessarily need lowercase letters; plenty of commercial typefaces such as Banco (ITC) are uppercase only, because certain fonts are used primarily for large headlines However, it s a good idea to map the uppercase characters you create to both upper- and lowercase keystrokes; this is done during the export process and saves the frustration of having to type with the CAPS LOCK key on! This example typeface, Odyssey, is used in the following examples You might want to base your own font on these characters; they re very easy to draw
Ill 15-5
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