| Commit message (Collapse) | Author | Age | Files | Lines |
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LilyPond becomes possible to handle
OpenType/CFF Collection (OTC) fonts.
So this commit removes the settings
that ignore some major OTC fonts.
OTC fonts can be used.
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Current LilyPond cannot handle OpenType/CFF Collection (OTC) fonts
(NotoSansCJK.ttc and SourceHanSans.ttc etc.).
This commit is a workaround that ignores some major OTC fonts
for avoiding errors.
TODO: Add OTC fonts support and remove this settings
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This commit removes makefiles to convert to OTF and install URW++ fonts.
(Century Schoolbook L, Nimbus Sans L, Nimbus Mono L)
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from to
Century Schoolbook L -> TeX Gyre Schola
Nimbus Sans L -> TeX Gyre Heros
Nimbus Mono L -> TeX Gyre Cursor
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This commit adds makefiles
to install TeX Gyre font OTF files.
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This commit fixes LilyPond local fontconfig conf file dividing.
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Due to conf file loading order, generic font aliases
`serif', `sans-serif', 'monospace' were unavailable
in LilyPond default fonts definition.
So the glyphs that are not contained
in the list of font definition,
like Japanese glyphs were used unexpected font.
This commit changes
LilyPond default fonts definition loading order
for enabling the aliases.
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From comments in:
http://lists.gnu.org/archive/html/
lilypond-devel/2015-06/msg00175.html
Added appropriate comments
in scm/font.scm and
mf/lilypond-fonts.conf.in
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LilyPond can not use bitmap fonts.
So this commit adds ``reject bitmap fonts''
from fontconfig's ``70-no-bitmaps.conf''
to lilypond-fonts.conf.
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This commit defines LilyPond default fonts
in local fontconfig configuration file.
And, LilyPond uses them.
It is possible to combine multiple fonts
with different character sets and glyphs each other.
e.g. Following fonts can be combined.
Latin glyphs: from a font without Cyrillic glyphs
Cyrillic glyphs: from another font with Cyrillic glyphs
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This commit adds
LilyPond local fontconfig configuration file as empty.
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Issue 4332
Add sans-serif and monospace fonts
Nimbus Sans L (Helvetica substitute) as sans-serif font.
Nimbus Mono L (Courier substitute) as monospace font.
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For example, see G. Ricordi's edition of Don Pasquale by G. Donizetti,
Atto Primo, Introduzione, measure 4, bass staff:
http://javanese.imslp.info/files/imglnks/usimg/1/1a/IMSLP141736-PMLP58429-Donizetti_-_Don_Pasquale_VS_Sibley.1802.16329.pdf
Many other quarter rests in the same score look slightly different.
This new rest is designed to fit in with the other rests in the Feta
font rather than to reproduce a particular historical look exactly.
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In make
a b: c
command
is shorthand for
a: c
command
b: c
command
this means that in parallel builds the same command may be invoked twice.
Fix this by associating each command with only one target, and adding
dummy dependencies. Also, generate the .pe for only one design size at
a time.
Relative to botched commit 366316fd6be846c2050be6b1b3955b261026187e,
this:
* does not write .dep files from gen-emmentaler-scripts (the makefile
already writes them)
* declares explicit dependencies on out/*.lisp for the out/%.otf-table
rule.
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This reverts commit 366316fd6be846c2050be6b1b3955b261026187e.
See <URL:http://permalink.gmane.org/gmane.comp.gnu.lilypond.devel/58153>
for the rationale
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In make
a b: c
command
is shorthand for
a: c
command
b: c
command
this means that in parallel builds the same command may be invoked twice.
Fix this by associating each command with only one target, and adding
dummy dependencies. Also, generate the .pe for only one design size at
a time.
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This patch simplifies the code for the double G clefs; it also fixes the
incorrect test of the `double_shift' parameter that caused the non-double
G clefs being drawn twice.
Recent FontForge warnings like
Internal Error (overlap) in clefs.G: Intersection failed!
or the ugly shape with a straight line instead of a curve in the left part
of the G clef are now gone: Drawing the shape twice triggered a bunch of
FontForge bugs.
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This patch covers the clefs requested in:
http://lists.gnu.org/archive/html/lilypond-user/2010-02/msg00029.html
(double G clef and varpercussion clef)
http://lists.gnu.org/archive/html/lilypond-user/2013-11/msg00661.html
(tenor G clef)
http://code.google.com/p/lilypond/issues/detail?id=693
(varC clef)
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1. Reducing width of MI notehead, for both "regular" (Aiken, etc.)
and "small" (Funk/Walker) heads. When Funk/Walker heads were
introduced, a special width variable was introduced to both
sets and the mi heads were made wider than the other noteheads.
This does not seem to be the practice of available examples
(Sacred Harp, Southern Harmony books, etc.) and causes issues
with alignment, particularly with stems up, and is visually odd.
The variables have been removed from the metafont code, making
the MI noteheads the same width as the other shaped notes in
their respective sets.
2. Changing the SOL notehead to more closely match the normal round
notehead (as advertised in the mf code). The previous code uses
the shape of the open (half note) notehead, which is visually
unappealing. The open notehead has been defined so that it
matches visually with both the normal Aiken/Sacred Harp heads,
as well as the thin variants (in keeping with observed practice,
which uses the regular open roundhead even when thin variants
are used).
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Run make grand-replace to update all coopyright statements
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Changes:
* as much as possible is controlled by global parameters,
* variables have more consistent names,
* the functions are more consistently structured,
* stem ends are placed in one line using explicit beam direction.
The glyphs remain identical.
It would be good to extract one global procedure that would draw
all needed sharps (instead of having 6 similar ones), but i didn't
have enough time to do this.
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The logic remains virtually the same. List of changes:
* more descriptive variable names,
* removed surplus points (1', 3', 11', 21'),
* stem brushing is controlled in a simpler way,
* beam slant does no longer depend on stem thickness,
* all dimensions are explicitely and straightforwardly
derived from global parameters. This makes it trivial
to get a differently-looking natural by just changing
clearly defined values.
At size 20, the natural remains identical. At signifincantly
different sizes there are a few microscopic changes, but they
are too small to be noticeable:
* stem end thickness is defined in terms of stem thickness,
so regardless of design size the ratio between them is constant.
* beam slant is slightly more consistent. But you wouldn't notice
the change if i haven't told you ;-)
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to conform to the convention
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these files are not for the whole font,
but just some glyphs that aren't in their own subfonts
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they were just polluting the code
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Previous testing code was a mix of hideous copy&paste with
non-obvious passing glyph outlines around, which attempted
to produce additional glyphs in testing mode, so that there
would be both on-staffline and on-staffspace variations.
That code was completely unreadable and unmaintainable.
Instead i've introduced a global variable that determines
how the stafflines will be printed relative to the glyphs.
To see alternative configuration, just change that value.
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Previous name was confusing: the stafflines are actually
not drawn unless 'test' is set to non-zero value.
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Order dependencies so that fonts aren't rebuilt on a subsequent call to make;
everything should be built and up-to-date after a one-shot make call.
Also remove unused macros and update a comment.
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This makes the documented proposals for combining the accordion
register symbols together with the accordion dot symbol match in
positioning. It would have been feasible instead to shift the
(centered) accordion dot, but some register symbols work with
different line widths.
The net result will now exhibit a slight descender (namely half a
linewidth) of the accordion register symbols when used in a running
line.
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This reverts commit cc57862cb46c7bf63f5f0b4740ea28eb597fd2be.
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This makes the documented proposals for combining the accordion
register symbols together with the accordion dot symbol match in
positioning. It would have been feasible instead to shift the
(centered) accordion dot, but some register symbols work with
different line widths.
The net result will now exhibit a slight descender (namely half a
linewidth) of the accordion register symbols when used in a running
line.
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