Main Principles of Kh Types
- Style unity
- Classical aesthetics
- Contemporary notation
- Improved legibility
- Fast typesetting
For Whom and for What Kh Fonts are Suitable?
- For composers who want to use extended amount of symbols and, simultaneously, reduce time for making their scores looking good
- For publishers who aspire to top-level engraving and printing quality standards. We hope you will be satisfied by our aesthetic solutions.
- For publishers who have limited possibilities and print their production on middle-quality risographs. Kh fonts are developed such way, so they should be readable while printing quality is not good and staff lines are thick (expected staff and ledger lines thickness in Finale is 3 or 4 EVPU: this is quite more than Finale or Sibelius default settings; and even if staff lines’ thickness is 6 EVPU, glyphs are perceptible clearly!).
- For ‘real life’. It’s not secret that most people who set scores don’t work for any publisher, and most scores are made at home today. We paid attention to make typesetting as fast as possible and compatibility as high as possible. Most fonts could be used in simple text block (such as Kh Woodwind Fingering). Most symbols are possible to set by keyboard, it is able to switch to extended symbols’ sets by switching ‘italic’ and ‘bold’ hotkeys. We used only one codepage mostly compatible with most spread Latin (English) keyboard layout. Kh fonts are universal, cross-platform and our solutions allow to avoid complex settings and additional files (such as Font Annotations) in most cases.
- For musicians with not very good sight. Kh fonts are suited to be clearly legible on long distance and we expect that our united-style symbols will not ‘scratch your eye’ as much as different-style symbols taken from completely different types.
- For computer notation software developers. You are welcome to use Kh fonts in your product.
- For all who respect copyright law. Kh fonts are made on completely lawful and registered hardware and software. There are no symbols or graphic elements taken from third-party fonts, which licence does not permit to do it or limit modified fonts using some way. The license (see below) allows to print, embed, and redistribute Kh fonts.
- For those who cannot spend much money for a good type.
License and ‘Voluntary Buying’
I’m not going to constrain use of my fonts by some strict license: I want to make contemporary and classical music accessible (in all meaning of this word, including technical one). So all fonts are distributed under SIL Open Font License: it allows using, embedding, modifying, distributing (including distributing in paid products) and forbids selling the fonts themselves. Nevertheless I spend a lot of time so you can type your scores fast and make them fine-looking.
So I can continue make new pretty and useful fonts,
I suggest a ‘gentlman’s agreement’ to you:
please donate at least €3 (200 рублей) or more for every personal download of Kh to:
or (Russia only) — платёжная карта Visa Сбербанка в рублях:
4276 0031 4988 0085 NIKOLAY KHRUST
Single Codepage or Why so Many Fonts?
Really, is 16 384 symbols of two-byte Unicode not enough?
This is not a problem of quantity. There are three reasons why we use separate fonts for different groups of symbols.
- Accessibility & Fast Typesetting: most symbols could be set by keyboard, so we use only ASCII symbols. If we need more symbols we use italic, bold and bold italic ‘styles’ as fonts with different set of symbols. It’s easy: just switch Ctrl+I, Ctrl+B (Cmd+I, Cmd+B) to access new symbols.
- Compatibility: our fonts could be used in any application including old versions of Finale and Sibelius no matter wether OS is Mac or Win or any other one. For universal compatibility we use only one codepage (Mac OS Roman). No Unicode, no SMuFL. Did you try to set any SMuFL symbols in MS Word for example? ; )
- Height: we use different fonts for symbols with different height, because height (unlike width) is the same for all symbols in single font. Using various fonts with various height decides problem with leading and in most cases allows to discard font annotation files (*.fan).
Aesthetics & Legibility
Kh typefaces follow classicistic (neoclassical) aesthetics and are fine in combination with such modern serif types like Bodoni (used in our illustrations).
Kh glyphs could be characterized not as bold as contrast ones: for making large not only the shape but white space inside the shape.
All strokes which could be horizontal are bold and slanted much for making them good perceptible on staff lines. So, for ex., square notehead became a parallelogram. And its angles are extended for making it more distinct from usual notehead (so it’s not exact parallelogram). Oval, parallelogram triangle and other noteheads made with optical size compensation.
Arrows and other additional elements made so enlarged to be legible with different staff lines thickness:
Our flat is more paunchy than in Sibelius Opus and more bold than in Finale Maestro font.
Half-flat is more narrow, so it’s really ‘half’ (and also this more tight shape of reversed flat less brakes overall glyphs’ trend from bottom-left to top-right):
Using Italic & Bold Switches
When you switch to italic or/and to bold ‘style’, you actually not to make it really italic or bold, but switch between various subsets of symbols. In Kh Woodwind Fingering Chart fonts you change (correct) symbol height:
In Kh Reed. Position you switch between symbols with two kind of height:
Switch Kh Accidentals to bold to add parentheses to any accidentals:
So we call them not ‘styles’ but ‘switches’.
Examples of Char Tables
The examples below are only part of the story ; )
Kh Reed. Position:
Kh Reed. Pressure. Lips and Air:
Kh Woodwind Fingering Chart:
- Kh Accidentals
- In_Parentheses (Bold switch)
- Kh Noteheads
- Basic (under construction)
- Stroke 1 (in project) — 4 switches
- Stroke 2 (in project) — 4 switches
- Cross (in project) — 4 switches
- Circle (in project) — 4 switches
- Circle Stroke 1 (in project) — 4 switches
- Circle Stroke 2 (in project) — 4 switches
- Circle Cross (in project) — 4 switches
- Kh Woodwind Fingering
- Holes (Regular switch)
- Divider (Italic switch)
- Levers (Bold switch)
- Wide (Bold Italic switch; in project)
- Kh Reed.
- Pressure. Lips and Air
- Tongue (Bold switch)
- Kh Bow (in project)
- Kh Arrows (in project)