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(per suggestion, I'm making my comment an answer): You don't. They are meant to be separate files, as they are separate fonts. The DTP software is what swaps them out as needed. It's been a while since I've used Fontographer, but I believe the key is that you want all the files to share the same 'family name' setting


Fontographer is for creating typefaces, which does not concern itself with colors. PostScript Level 3 typefaces may possibly include color information - you would need to read up on the specifications. But most of the type-world has moved on to the more flexible and widely supported OpenType which does not support "color". Instead of viewing your logotype ...


As DA01 stated, the connection is based on family name. That links them in the editor. Styles and style names for each font is what determines the switching by word processors and DTP software. Unfortunately, it's not always the same from one app to the next. Stick with basic style labels to avoid trouble. There are also numeric values for weight that come ...


Is your typeface built up with strokes (as opposed to shapes)? Then, all you'll have to do is give those strokes a dotted line. In Illustrator, you'd use the stroke palette. Then, Object > Expand the glyph.


These relationships between fonts in a family are called "Styling links". The simple answer is that if you are outputting OpenType TT or OpenType PS format, and have up to four fonts in the family, all you have to do is give the fonts an identical Family Name the same and different Style Names. You should also specify width, weight and slope Design ...


It's been a few years since I built a font and I haven't done it with Fontographer in a very long time. Nonetheless, here's my FontLab-centric take on the issue ... The required method is one complete, closed outline inside of another, just like you do for the counter shapes of regular letters. You may be running into a situation where your pasted inline ...


If you wanted to dork out on your solution, you could make a script in Processing to help automate the process a bit. You can load the font as-is with the PFont function: Generate ellipses in the shape path: And then export the forms as PDFs:


What about using a dot pattern as the fill on the shapes? Select the shape, and use the appearance palette to apply a dot pattern?


If you look carefully at some letters (like the R) you will see that the shape described by the outer element is different than the inner one. This is inevitable and is a limitation of the method you are using. One way to attempt this (without resorting to a specifically designed typeface) is to convert the letter to an outline, and apply a very thick rule ...

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