- #FONTAGENT VS SUITCASE 2018 MAC OS#
- #FONTAGENT VS SUITCASE 2018 DRIVER#
- #FONTAGENT VS SUITCASE 2018 SOFTWARE#
- #FONTAGENT VS SUITCASE 2018 WINDOWS#
#FONTAGENT VS SUITCASE 2018 MAC OS#
Fontographer allows users to adjust character shapes and manipulate fonts.ĭeWitt uses Adobe Type Manager Deluxe font management software, although he will soon change because Adobe is not upgrading to Mac OS X, the latest operating system version of Apple. When RIP technology does not support the font, DeWitt says they use Macromedia Fontographer to replace it with a different font, which can sometimes result in flow issues.
#FONTAGENT VS SUITCASE 2018 DRIVER#
A RIP is a driver for imagesetters and platesetters. The newer fonts aren˜t always supported by RIP," says Josh DeWitt, digital prepress artist at D&K Printing in Boulder. "With OpenType, we do have problems with RIP technology, and printing and prepress being able to handle them. "With OpenType, these two folders are combined."īut like other fonts, OpenType has its own issues when it comes to print. "With PostScript, you had two files: one for screen fonts and one for printer fonts," Coy says. And unlike PostScript fonts, he views OpenType fonts as simpler to manage. When clients buy a font for a project and it˜s licensed for up to five computers, he says OpenType makes it easier because they can both use it on their computers. He has clients who operate on PCs, yet he works on a Mac.
#FONTAGENT VS SUITCASE 2018 WINDOWS#
As one of its key benefits, the OpenType format offers cross-platform compatibility and allows the same font file to work on Macintosh and Windows computers.Īccording to Coy, OpenType can help simplify licensing issues. He adds that it˜s difficult for some clients to understand why high-end fonts are so expensive when they can buy TrueType fonts, for example, for $10 to $20 each.Ī new font file format that is gaining popularity with creative professionals is OpenType, which was developed jointly by Adobe and Microsoft. Fowles says clients are "blown away" when they discover that high-end fonts by PostScript can each cost about $200. But we can˜t just give them our fonts, and clients don˜t want to buy them," he says. "Clients will want us to design a template that they can use. Suitcase 10 also has automated features that help preview, organize and activate fonts, and collect fonts for output.Īnother frequent complaint about fonts is misunderstandings about licensing issues, which Creative Director Eric Fowles of Alesce in Superior says can cause problems with design clients. The Suitcase 10 version is equipped with tools to remedy various potential font problems, including duplicate fonts, corrupt fonts and system font conflicts. To manage his fonts, Coy uses Extensis Suitcase, which he says does a good job of letting him know when "fonts in different flavors are in a document." A good font manager will only let you use one not both," he says.
#FONTAGENT VS SUITCASE 2018 SOFTWARE#
"A lot of (font management) software will tell you that you have two different fonts. The consequence of sending the wrong version can result in variations in text flow and kerned headlines. For example, TrueType and Type 1 differ in how they handle kerning and other spacing matters. Similarly, fonts can vary from vendor to vendor and differences exist between PostScript˜s TrueType and Type 1 versions of fonts. He relates the differences between fonts to the variations of vanilla ice cream from one manufacturer to another. "My biggest gripe with fonts is the different flavors of the same font," says Tim Coy, a general partner of Ad Type & Design in Louisville. One is to organize and manage fonts, preferably with the help of font management software. Yet there are key steps that designers can take to minimize problems. They think because we live in an electronic age that someone else will take care of it," she adds. "I˜m surprised by how many people don˜t know where their fonts are located on their computers."įrom Tatti˜s perspective, those who are new to graphic design seem to have the most problems with font management. "People don˜t supply fonts like they should, or they don˜t supply the correct fonts," says Angela Tatti, electronic prepress manager of Prestige Printing in Boulder.
And some local printers say a basic challenge for some designers lies in their ability to provide the right fonts with submitted projects. The process of making sure fonts appear in the printed version as they did on the designer˜s screen is no small task.
In today˜s age of electronic publishing, graphic designers can choose from thousands of different fonts, the printer˜s word for the shapely style of letter type.
Missing fonts, corrupt fonts or the wrong fonts are common glitches that can delay a printing project and prove costly if not caught in time. Ask printers about their biggest headache when outputting files, and fonts are likely to top the list.
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