Nov 16, 2015 - Before we can upload fonts to Canva, we first need to download a font! NOTE: You won't be able to bold or italicize the font since you only. Cowboy Western is based on an old woodtype font from the late 1800’s.Saddle up boys and girls the new Cowboy Western is here, the perfect font for when you Skip to main content fonts.com.
Description Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions. License NOTIFICATION OF LICENSE AGREEMENTThis typeface is the property of Monotype Typography and its use by you is covered under the terms of a license agreement. You have obtained this typeface software either directly from Monotype or together with software distributed by one of Monotypes licensees.This software is a valuable asset of Monotype. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited to your workstation for your own publishing use.
You may not copy or distribute this software.If you have any question concerning your rights you should review the license agreement you received with the software or contact Monotype for a copy of the license agreement.Monotype can be contacted at:USA - (847) 718-0400UK - 7 765959http://www.monotype.com. Description Quire Sans is a typeface family designed by the Jim Ford. It consists of 10 weights plus Italics. The character set contains Small Caps as well as a lot of additional ligatures. The families look and feel can be described as: Friendly or serious - depending on the context - understated, sturdy and graceful.
The forms are based on classic Roman lines and proportions, so its naturally very legible. Quire Sans is rooted in traditional book typography and draws inspiration from centuries of typographic development. All wrapped up in a fresh and tidy family for modern media. License This font software is the property of Monotype Imaging Inc., or one of its affiliated entities (collectively, Monotype) and its use by you is covered under the terms of a license agreement. You have obtained this font software either directly from Monotype or together with software distributed by one of the licensees of Monotype. This software is a valuable asset of Monotype. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited by the terms of the actual license agreement you have entered into with Monotype.
You may not copy or distribute this software. If you have any questions concerning your rights you should review the license agreement you received with the software. You can learn more about Monotype here: www.monotype.com.
License NOTIFICATION OF LICENSE AGREEMENTYou have obtained this font software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This font software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this font software is limited to your workstation for your own use. You may not copy or distribute this font software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informations concernant le contrat d'utilisation du logiciel de polices, veuillez consulter notre site web www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418.
My OpenType test font can be used to test which OpenType Layout features are applied by default, and which are applied when certain UI elements are toggled. I'm including the test results (screenshots) from a number of popular apps, and comparing it against Affinity Designer. Since all upload attempts of PNGs or ZIPs on this forum seems to fail here, I'm sharing this via Dropbox: I also recommending checking my OpenType Layout Feature Classification document at: which should give you a decent overview of which features should be implemented in which way from the point of view of the user interface. Affinity Designer does a number of surprising and potentially bad choices when it comes to the choice of OpenType Layout features which are enabled by default, and those that are exposed vs. Not exposed in the OpenType palette. The 'mkmk' feature is enabled but the 'mark' feature isn't.
That's not good at all. The features 'ccmp', 'locl', 'mark', 'mkmk' and 'rlig' should always be enabled. Please enable 'mark' by default. The Format / Character / Capitalization / Small Caps menu item produces 'fake small caps' done by converting the lowercase characters in the text string to uppercase and reducing their size. This is not a very good implementation. The recommended implementation would be to call the font's 'smcp' GSUB OpenType Layout feature if it is present in the font, and only apply the downsizing technique in fonts which do not have an 'smcp' feature.
If you keep the current implementation for small caps, or even if you change it to the recommended one, the absence of a 'Small Caps' control in the OpenType palette is a painful omission. In the 'Capitals' section of the palette, you've correctly implemented 'All Small Caps' which activates both 'c2sc' and 'smcp'. However, the first option after 'Normal' should be 'Small Caps' which activates just the 'smcp' feature — especially that this would really only work in the OpenType context.
OpenType small caps are very different from the Character Capitalization 'Small Caps' functionality as you've implemented it, and 'smcp' should really be exposed in the OpenType palette because that's where many users will be looking for it. In the 'Capitals' section of the OpenType palette, you've implemented 'Petite Caps' which calls 'pcap'. I would recommend adding another entry after that, 'All Petite Caps', which calls both 'c2pc' and 'pcap'. Then, you'de have a consistent implementation:.
Small Caps = smcp. All Small Caps = c2sc + smcp. Petite Caps = pcap. All Petite Caps = c2pc + pcap 5.
In the 'Figure Position' section, it's a strange choice that you've implemented 'Fraction' as a radio button but 'Alternate Fraction' as a checkbox. This is not how these work in fonts. I would actually recommend turning 'Fraction' and 'Ordinal' into check boxes and placing them above 'Alternate Fraction'. 'Fraction' (frac), 'Ordinal' (ordn) and 'Alternate Fraction' (afrc) are implemented in various ways in different fonts, but they are really a very different animal from numerators, denominators, superscripts, subscripts etc. — which you have reasonably implemented as radio buttons. The presence of 'Mathematical Greek' in the 'Figure Position' section is a bit odd, but it's a very rare feature and it sort of makes sense to leave it there.
I definitely urge you to implement a checkbox in the 'Alternates' section (and it should be the first one!) for 'Contextual Alternate'. It's an opt-out feature, it should be on by default, but due to the implementation in many fonts, users may want to turn it off. I'm not sure at all what 'Fraction Ligatures' in the 'Ligatures' section represent.
Could you clarify? I would recommend to add a checkbox 'Positional Alternate' in the 'Alternates' section (before 'Random Alternate').
It should be on by default, and enable the features 'init', 'fina', 'fin2', 'fin3', 'isol', 'medi', 'med2' just the way that you have it working. But quite a few Roman fonts implement this feature in such a way that users might want to turn them off. Therefore, disabling the checkbox should disable 'init', 'fina', 'fin2', 'fin3', 'isol', 'medi', 'med2'.
Other than that, it seems that your implementation is fine for the purposes of Western typography. Regards, Adam Twardoch. Thanks for your comments, Adam.
![Gabriola Gabriola](http://www.fontsplace.com/free/images/t/transformers_normal_font_preview_characters.gif)
The 'mark' feature was registered by Microsoft, and their specification does not say it should be on by default so I left it off. Now you've pointed it out I think this is an omission in their specification, so we'll turn it on. Not all fonts provide OpenType features, and we wanted some alternates to always be available. There are three of these. 'Default Ligatures' will switch on 'liga', and in addition if font supplies characters like U+FB01 'fi' then we substitute them ourselves. 'Fraction Ligatures' is similar.
This one does not map onto an OpenType tag. If the font supplies characters like U+00BD '½' then we use that to replace '1/2'. The Small Caps implementation that replaces 'a' with a scaled 'A' is the third case. This was intended partly as a fall-back for when 'smcp' is not available, and indeed it is disabled if 'smcp' is enabled. However, I had also thought it could be useful as an alternative to 'smcp' if the OpenType feature didn't cover all the needed characters.
I'm now changing my mind about that. It's probably simpler if the menu options are just synonyms for the OpenType panel options. The Capitals section of the OpenType panel is just buggy. It was trying to provide SmallCaps and PetiteCaps as you describe, but was getting it wrong.
We'll fix it. I agree with your other points, and we'll implement them in due course. Dave, many thanks for your reply. I agree that 'fallback' implementations make sense. It's probably simpler if the menu options are just synonyms for the OpenType panel options. When Microsoft was working on Office 2007, which brought in user access to features, we had a discussion about a fallback implementation of small caps along the lines that you suggested.
There were a few fonts which had basic Latin, Cyrillic and Greek glyphs but only had small caps glyphs for Latin. So there was some debate whether to do some kind of smart small caps fallback: using 'smcp', then checking which glyphs were not affected, and then doing case conversion and size reduction for those not covered by smcp. But the consensus was that there are like 10 such fonts on the market and that such 'smart fall back' would introduce more problems than it would solved. The consensus was that the fallback should be simple:. If there is 'smcp' in the font, apply it and forget the rest.
If there is no 'smcp' in the font, then apply fake small caps (i.e. Case conversion and size reduction). In the end, for backwards-compatibility reasons (minimizing document reflow from documents created in older versions), the Office team decided to only do variant 2.
It was a bit disappointing but understandable. I would recommend doing a similar approach for fractions. You already have the section 'Figure Positions', and there, you have the 'Fraction' entry. Why don't you have that entry always visible and work as follows:. If the font has the 'frac' feature, you only apply it and don't do anything else. If the font does not have the 'frac' feature, then you do the Unicode-based 1/2 - ½ substitutions. This means that you could drop the 'Fraction Ligatures' entry, which is confusing, and fold that functionality into one UI element 'Fraction'.
To me, this would be logical and improve the UX. 'Default Ligatures' will switch on 'liga', and in addition if font supplies characters like U+FB01 'fi' then we substitute them ourselves. Here, I agree with the motivation, but I would also implement it as a strict fallback:. If the font has 'liga', only apply it and forget the rest. If the font does not have 'liga', perform the Unicode-based substitutions for U+FB01 etc.
My general recommendation is that you only perform Unicode-based fallback shaping if there is no proper OpenType Layout implementation in the font. Make the primary and the fallback implementation mutually exclusive, do not mix them, or you'll be asking for trouble.:) If you follow this principle, you could even do more Unicode-based fallback implementations: for superscript figures (there are the popular U+00B9, U+00B2 and U+00B3 which are present in many fonts, plus the additional U+207x superscript figures and letters, which are less common), ordinals (U+00AA and U+00BA), maybe even Unicode subscript figures and letters (U+208x and U+209x). This way, you'll have almost guaranteed presence of the Figure Position section with 'Normal', 'Fraction', 'Superscript', 'Subscript' and 'Ordinal'.
Also, for Format / Character / Capitalization / All Caps, I would recommend to always enable the 'case' and 'cpsp' features if present. I mean, you do the Unicode case conversion and in addition enable 'case' and 'cpsp'. Most fonts that have 'case' and 'cpsp' are set up to work this way. Regards, Adam. Please review:. — it’s essentially an intro to the conceptual model of how Unicode processing and OpenType Layout shaping needs to be applied; if you don’t do complex-script support at this time, it’s still useful. — it’s not formally a normative part of the OpenType spec, but practically, it is; it’s an essential follow-up to the 1st article.
— the other Script-specific Development specs are also not formally part of the OpenType spec, but, well, they are really required. Review the source code of — it’s currently the by far best open-source implementation of OpenType Layout shaping which is highly compatible with the Windows Uniscribe library; it’s nearly reference implementation; the source code shows which features are applied by default in which contexts, and the test tools allow you to compare your own results with HarfBuzz’s. Affinity Designer looks very promising. If you implement the typographic support for OpenType fonts well, you’ll have a fair number of new customers. There is a bunch of additional typographic niceties that could find its way into the app, but it’s not the time now.:) Best, Adam.
I would recommend doing a similar approach for fractions. Here I disagree. I don't think it does any harm to combine the OpenType implementation with the faked one, because in this case the app is just using glyphs already in the file and not having to make arbitrary choices about what scale to use. Also, the substitutions should be idempotent. OpenType gets priority, and if it replaces '1/2' then those glyphs are no longer in the text stream and the fake implementation will do nothing. Similarly with ligatures.
But maybe there is a clearer name than 'Fraction ligatures'. Also, for Format / Character / Capitalization / All Caps, I would recommend to always enable the 'case' and 'cpsp' features if present. I mean, you do the Unicode case conversion and in addition enable 'case' and 'cpsp'. Most fonts that have 'case' and 'cpsp' are set up to work this way. We should already be enabling 'case'. I should say that our OpenType implementation isn't as good as you think.
We implement the GSUB table, but not GPOS. That's why we aren't already enabling 'cpsp'; doing so would have no effect as it needs GPOS. We are improving our support for OpenType, and the next version should include at least 'kern'. I'll see if I can add 'cpsp' too. If you do 1/2 - ½ before, then the contextual implementation in the font may break entirely. We never do it before.
As I mentioned, we apply OpenType first, so the font designer's logic is applied unhindered. Also, I've now checked the code, and the only place that we implicitly apply both OpenType and Unicode implementations at once is the menu option for 'Default ligatures'. Personally I think having OpenType and Unicode available as separate options in the UI is the most useful and also clearest (or would be, if they were named better).
However, we've now discussed this in the office, and the consensus is that the benefits aren't worth the screen real-estate, so we'll change it to use a fall-back approach along the lines you suggest. Incidentally, you mentioned Gabriola as being an ambitious font. Do you know the font designers? I ask because there is a bug in its fractions implementation. It maps '1/2' to '1/3'. Try it: in TextEdit type '1/2' in Gabriola and enable Contextual Fractional Forms. It's an example of a font where letting the OpenType implementation override the Unicode implementation does the wrong thing.
Dave, Thanks for your reply. I just checked Gabriola version 5.92 (included in Windows 8.1), and 1/2 with 'Contextual Fraction Forms' produces the correct ½. Which version of Gabriola do you have? Perhaps Microsoft fixed this already. Bugs in fonts are bugs in fonts. End-user apps shouldn't try to fix bugs in fonts.
Users should report bugs to font vendors, and the fonts will be fixed. The right person to report bugs in Microsoft fonts is Simon Daniels All the best for the custom OpenType Layout implementation:) Unfortunately, this somewhat cools my hopes that the Affinity suite will be useful in the multilingual context.:/ Getting Indic or even Arabic shaping properly using custom code is not for the faint of heart.