Lars, thanks for your feedback.<br><br><div class="gmail_quote">2010/1/15 Lars Hellström <span dir="ltr"><<a href="mailto:Lars.Hellstrom@residenset.net">Lars.Hellstrom@residenset.net</a>></span><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Christopher Adams skrev:<div class="im"><br>
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I noticed that for a large number of accented characters that are defined by<br>
T1, in the output from pdflatex they are being drawn as composite glyphs,<br>
rather than independent glyphs as they exist in the Palladio fonts.<br>
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Just to be clear here: By "composite" you mean that there are really two glyphs being combined to make up one letter?<br></blockquote><div><br>That is correct.<br> <br></div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
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".</blockquote>
<div class="im"><br>I do see the point of your terminology. So I can say that the ę is being decomposed to e and ̨? <br><br>
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For glyphs such as *gbreve* this makes no difference in the final output.<br>
For others such as *eogonek,* the ogonek is misplaced*<br>
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Yes, getting the position of the ogonek right is tricky.</blockquote><div class="im"><br>But why should it have to be? URWPalladioL comes with the glyph <i>eogonek</i>, approved by Zapf himself I should hope. The T1 encoding has a slot for <i>eogonek</i>. Why isn't this glyph being taken directly from the font?<br>
<br>For glyphs that T1 does not cover, such as <i>iogonek</i>, I understand why they must be drawn on the fly. <br><br>
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(and anyway you can't<br>
make a good *eogonek* by compositing; it really needs to be an independent<br>
glyph.). Likewise the *dcaron* and *tcaron* are wrong, because again you<br>
can't achieve good glyphs by compositing the base character with an<br>
apostrophe.<br>
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Still, they're not quite as bad as some other glyphs being faked, I suspect.</blockquote><div class="im"><br>The purist in me does not make that distinction. ;-) <br>
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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<br>
<a href="http://tug.org/pipermail/fontinst/2009/001615.html" target="_blank">http://tug.org/pipermail/fontinst/2009/001615.html</a><br>
and forth, though in that case t1cj.etx was used to gain access to smallcaps and oldstyle figure glyphs.</blockquote><div class="im"><br>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).<br>
<br>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. <br><br>
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* As an aside, the ogoneks in PalladioL are really badly drawn. One aim of<br>
my project is to redraw these glyphs in a separate font and bring them into<br>
to my Palatino via fontinst.<br>
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Good choice. Combining the offerings of several base fonts is where fontinst really shines.<br></blockquote><div><br>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.<br>
<br>As always, thanks Lars!<br><br>—Christopher<br></div></div><br>