Lars, thanks for your feedback. 2010/1/15 Lars Hellström <[email protected]>
> Christopher Adams skrev: > > I noticed that for a large number of accented characters that are defined >> by >> T1, in the output from pdflatex they are being drawn as composite glyphs, >> rather than independent glyphs as they exist in the Palladio fonts. >> > > Just to be clear here: By "composite" you mean that there are really two > glyphs being combined to make up one letter? > That is correct. > I first felt a bit confused when reading this, but that's probably because > I've been thinking about Unicode lately, where (the semantic counterpart of) > this kind of thing would be called "decomposed". I do see the point of your terminology. So I can say that the ę is being decomposed to e and ̨? For glyphs such as *gbreve* this makes no difference in the final output. > For others such as *eogonek,* the ogonek is misplaced* > Yes, getting the position of the ogonek right is tricky. But why should it have to be? URWPalladioL comes with the glyph *eogonek*, approved by Zapf himself I should hope. The T1 encoding has a slot for * eogonek*. Why isn't this glyph being taken directly from the font? For glyphs that T1 does not cover, such as *iogonek*, I understand why they must be drawn on the fly. (and anyway you can't > make a good *eogonek* by compositing; it really needs to be an independent > glyph.). Likewise the *dcaron* and *tcaron* are wrong, because again you > can't achieve good glyphs by compositing the base character with an > apostrophe. > Still, they're not quite as bad as some other glyphs being faked, I suspect. The purist in me does not make that distinction. ;-) You need to use a different base font encoding, either instead of or in > addition to, 8r. The quickest way of getting one that covers the glyphs > you're asking about would probably be to use the T1 encoding itself; a > variant on that trick is described in > http://tug.org/pipermail/fontinst/2009/001615.html > and forth, though in that case t1cj.etx was used to gain access to > smallcaps and oldstyle figure glyphs. The link you suggested is in fact one that I came across in my search before deciding to post to the list. I understood that I would have to do something along these lines if I want to access glyphs not in the T1 encoding (like scommaccent, for example). What I don't understand is why A/E/a/eogonek and gbreve are not being taken directly from the font, while, for example, iacute and acircumflex are. * As an aside, the ogoneks in PalladioL are really badly drawn. One aim of > my project is to redraw these glyphs in a separate font and bring them into > to my Palatino via fontinst. > Good choice. Combining the offerings of several base fonts is where fontinst > really shines. > Exactly. While the base glyph outlines for Adobe Palatino and URWPalladioL are practically indistinguishable, the former offers SC/OsF while the latter has much better glyph coverage. As always, thanks Lars! —Christopher
