A work-around to simulate real small capitals is to use a one-level bolder version of the small caps generated by such systems, to match well with the normal weights of capitals and lowercase, especially when such small caps are extended about 5% or letter-spaced a half point or a point. However, this will make the characters look somewhat out of proportion. How this is implemented depends on the typesetting system some can use true small caps glyphs that are included in modern professional font sets but less complex digital fonts do not have small-caps glyphs, so the typesetting system simply reduces the uppercase letters by a fraction (often 1.5 to 2 points less than the base scale). Many word processors and text-formatting systems include an option to format text in caps and small caps, which leaves uppercase letters as they are, but converts lowercase letters to small caps. When the support for the petite caps feature is absent from a desktop-publishing program, x-height small caps are often substituted. OpenType fonts can define both forms via the "small caps" and the "petite caps" features. To differentiate between these two alternatives, the x-height form is sometimes called petite caps, preserving the name "small caps" for the larger variant. For example, in some Tiro Typeworks fonts, small caps glyphs are 30% larger than x-height, and 70% the height of full capitals. In fonts with relatively low x-height, however, small caps may be somewhat larger than this. Typically, the height of a small capital glyph will be one ex, the same height as most lowercase characters in the font. Well-designed small capitals are not simply scaled-down versions of normal capitals they normally retain the same stroke weight as other letters and have a wider aspect ratio for readability. Small caps can be used to draw attention to the opening phrase or line of a new section of text, or to provide an additional style in a dictionary entry where many parts must be typographically differentiated. For example, the text "Text in small caps" appears as Text in small caps in small caps. Small caps are used in running text as a form of emphasis that is less dominant than all uppercase text, and as a method of emphasis or distinctiveness for text alongside or instead of italics, or when boldface is inappropriate. This is technically not a case-transformation, but a substitution of glyphs, although the effect is often approximated by case-transformation and scaling. In typography, small caps (short for " small capitals") are characters typeset with glyphs that resemble uppercase letters (capitals) but reduced in height and weight close to the surrounding lowercase letters or text figures. In our case, let’s give the Regular master a Weight value of 100, and the Bold master a weight value of 250.True small caps (top), compared with scaled small caps (bottom), generated by Writer Makes sense when you think about it, because you cannot interpolate between 100 and 100. You must have a different axis coordinate, otherwise you cannot interpolate. change the axes coordinates: this is paramount.Pick a name and an icon that makes sense to you and that makes it easier for you to orient yourself when you switch through the masters. change the name and the icon: this is only for yourself, as a reference.Or drag the name of the master in the sidebar, and simultaneously hold down the Option key, and the master gets duplicated once you release your mouse button. Duplicate Selected: add a duplicate of the currently selected master as new master.Add Other Font: insert the contents of a second.You can either click on the plus button in the lower left and choose one of the options there: Now we need to add a second master, otherwise we cannot interpolate. Once you have created a new Glyphs file, you pick File > Font Info and navigate to the Masters tab. Setting up mastersĪlright, let’s get the party started. You set up instances in File > Font Info > Exports. If set up properly and everything works the way it should, you should never need to fiddle with the points or paths of an interpolated instance. In the case of Glyphs, they are spit out as prêt-à-porter OpenType fonts right away. Instances are organized in the Exports tab of the Font Info. They are the output, the exported result of the interpolation. Instances or styles are what the computer calculates. You set up masters in File > Font Info > Masters. When you are working on a family, you constantly jump back and forth between masters to make sure they will interpolate nicely. You draw them on different layers of each glyph. Masters are organized in the Masters tab of the Font Info. They are the input for the ensuing interpolation.
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