They should also work for Rhino V5 for Windows - just not in V5 for Mac, - not the fonts fault, just that the V5 for Mac TextObject command does not support single stroke fonts. The V6 for Mac WIP does.
I am trying to create a rectangle, using axlDBCreateRetangle, but there does not seem to be an option for line font. I want to use PHANTOM. Is there a way to change the line font in skill? I know I can change a "line" with axlChangeLineFont, but a rectangle is considered a shape in allegro.
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" Regarding Case 45639321, "Setting line font before using axlDBCreateRectangle?." I hope the axlDBCreatePath() function should have helped you in setting the line font. But this is a longer way to create rectangle and so I have filed Cadence Change Request (CCR) number 1317539 on your behalf. The CCR is Enhancement for axlDBCreateRectangle() and asked R&D to add two formal arguments for Line Font and Line Width."
i want to imply motion of a moving part, so i patterned it along its path of travel and want to make all but one of the patterned components phantom. i want to avoid having to click each individual line and changing each of their fonts.
Hi, thank you for answers.
I need it really single line, because the font should be used for laser or mechanical engraving. Every extra path will extend the production time, and make stroke doubled.
Depends on what you think an open path is. OpenType renderers assume an implicit closepath at the end of any path description, because there is no such thing as an open path in OpenType. Note that the closepath is not stored in the font, so Glyphs theoretically can export the font with open paths, the problem is just finding a renderer that ignores the implicit closepath.
I couldn't find a better area to ask this: I have two drawings with nearly the exact same part detailed. One has a section cutting plane line font as a dense phantom line. The other has a very wide spread phantom line font that, in my opinion, does not look good on the print. I can't find any discrepancies between the two drawing configs so I'm not sure why this has changed between the two drawings. I don't think it's the size of one of the parts as the part with the preferred cutting plane line font - its casting drawing has the bad looking cutting plane line font and obviously the casting is the same size...besides stock. I don't think the PTC defaults have changed in the time it took me to finish one drawing and create the other either as, again, I don't see any differences in the drawing configs. In the Creo drawing the cutting planes look alike but as soon as I plot them on PDF or even print them directly from Creo the one changes to the spaced out phantom font. Any ideas???
Making text for Unicorn or EggBot plots isn't always a fun process. Most tools require you to convert text into paths, and even then you get the outlines of shapes, which can often turn messy at small sizes.mifga pointed me towards the Hershey...
If you have nodes very close together like this, be very careful if you run the Validator or if you use the Optimize Contours button. If you do either of those, Font Creator may close the outline for you.
The Single Stroke version is a true single-line font; the Double Stroke version takes your single strokes and turns them into outlines, basically going from the first point to the last point, then turning around and going back from the last point to the first point. But it makes the outlines impossibly thin. Thinner than you could ever make by hand.
What I usually recommend to customers is to install the Single Stroke version too, and go look up THAT font in Font Book or any other secondary program. As long as you have the same Unicode name for each alternate/ligature in both the Single Stroke and Double Stroke versions, they can copy/paste the wonky, blocky version that they can see, then select it and change it to the other version that they can use.
While these fonts are fussy and more difficult to build, this is also a category of fonts where very few are being made (see the aforementioned fussy/difficult issues), but the customer base is growing steadily. People want to use them with sketch pens in their Cricut and Silhouette machines; or the We R Memory Keepers foil quill in those same machines. They can be used for engraving and embossing, CNC, and laser machines like the Glowforge.
For my current project, I'd like to add inlined javascript and css highlighting to html-mode. Currently, I do this with MMM-mode, but it's bulky and I don't use other features of it, so I'd just like to make a minor-mode or even just a hack that I can add to the sgml-mode-hook to just do the highlighting.
EDIT: I should clarify that I don't want to see mode-specific font-locking within the javascript/css chunks. The only requirement is that I'm able to see the chunks by applying a different face to them.
Here's a basic major mode definition that names the font lockkeywords list (here, test-font-lock-keywords), enablesmultiline font lock, and adds the region extension functiontest-font-lock-extend-region.
This function looks at the global variables font-lock-beg andfont-lock-end, which contain the starting and ending positions ofthe search region, and extends the region to contain an entire blockof text (separated by blank lines, or "\n\n").
Now that Emacs will be searching for matches in larger regions, weneed to set up the test-font-lock-keywords list. There are tworeasonably good ways to go about matching multiline constructs:a regular expression which will match across lines and a matchingfunction. I'll give examples of both. This keyword list containsa regular expression for matching blocks and a functionfor matching blocks:
The first item in the list is straightforward: a regular expressionand a face for highlighting matches of that regular expression.The second looks a bit more complicated, but can be generalizedto specify different faces for different groups defined in thematch data specified by the function. Here, we just highlightgroup zero (the entire match) using font-lock-keyword-face.(The relevant documentation forthese matchers is in the Search-based fontification section ofthe Emacs manual.)
In the example below, I use the "anchored" form of font-lock keywords, it allows you to search more than the current line. The "trick" is that the "pre" hook do two things: 1) it allows you to position the point to the start of the search and 2) it allows you to limit the search by returning the end-position. In the example below, I have used the second property.
Regarding multiline font-locking, I think you may be asking the wrong question. But basically, this solves the problem of what to do if the user has made an edit in the middle or the end of a multiline syntactic construct. Initially, font-lock starts refontifying the buffer from the position of the point. The two default font-lock-extend-region-functions, font-lock-extend-region-wholelines and font-lock-extend-region-multiline, move the start of the refontification region to the beginning of the line, and then maybe somewhere even further, depending on the font-lock-multiline property. If you need it to move further up, you either add another function to font-lock-region-functions, or make sure to backtrack programmatically while parsing certain constructs, inside font-lock-region-function or syntax-propertize-function.
I want to engrave a sign with a 90 degree V cutter by following a single line font. When the font is defined by an inside and outside, well, this will not work with a single cutter. I want to generate a single font that is similar to how you create letters and numbers using a pen in your hand.
I know all standard font formats only supports closed path shapes and no open lines. But theoretically it should be possible to create a closed path drawn on top of itself to make it have no thickness at all, thus appearing like a single line font.
As you see in the image below, the character C is drawn using a line that closes the path by going back and forth on top of itself. This double line is revealed when moving one control point (the C to the right).
However, when saving fonts, Fontself refuses to export any straight vertical or horizontal lines. My guess is that Fontself checks if an sAIPath object has 0 height or 0 width, and if that is the case Fontself just omits it. And not only omits it, it is also completely deleted in the Illustrator document.
Unfortunately it is not quite what I am after if I understand your description correctly. Fontself translates open path outlines to filled polygons. And yes, it the outline can be made rather thin. But I would like to create a truly single line font for use in a laser cutter or a vinyl cutter. The open triangle you created will have either a double line (a thickness >0), or if the line is thinner than a certain threshold it is omitted by the parser and lost.
I am also very interested in this style of font creation.
I have read that in other font software there is the option to turn of auto-closing and auto outlining of fonts and then users rename the file extension of an exported .ttf to .opf after the export using the settings above.
Sadly there appear to be only a couple of software programs that accept the .opf font format but I hope this expands.
Would this be a possibility for a future fontself update perhaps?
Morning All
Could anyone please steer me towards a single line font as near to Arial as possible
I need to produce a number of items with text on some being fairly small the customer would like Arial but when i get down to around 12mm or 1/2" it starts to get a bit tight with cutter diameter
Any thoughts or ideas would be gratefully received
If you look at arial each letter has 2 vectors and a space between them when you create a tool path the choice is inside vector or outside vector or along vector but in order to get this to work on small fonts you need very tiny cutters.
@CSM if you are using vectric there is a single font option and Helvetica looks very similar to Arial. I all make sure I ungroup the font and convert to curves so I can adjust the spacing of each letter myself.
Arial top Helvetica bottom
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