A few more cases not listed below:
Damping symbols:
The symbols for damping are also inconsistently registered; some have the vertical stem drawn through the baseline, while others have the stem sitting on the baseline. Damping symbols enclosed in circles are all sitting on the baseline.
General overshoot of round characters:
The principal of overshoot for round shapes in type design has been retained in Bravura for many (though not all) text based characters (e.g. dynamics, D.S., D.C., tuplet numbers etc.). In all other cases, round shapes are treaded according to the present SMuFL guidelines, either sitting on top of or centred on the baseline.
There might be problems with overshooting all round shapes across the entire music font. With certain types of glyphs, however, I would think overshoots would be beneficial to horizontal alignment. This is most relevant with glyphs that have a square or straight counterpart, like the coda sign and accordion registration symbols, but could benefit all characters intended for placement outside the staff, often in alignment with straight edged glyphs or a string of text.
As it stands, these characters will need vertical adjustments within the scoring application to be visually aligned with straight edges. Have you given any thought to this at all? Are there perhaps reasons for not using overshoots that I’m not thinking of?
Kind regards,
Hi Daniel!
I’ve come across some cases where the metrics and/or registration of glyphs in Bravura differs from the guidelines outlined in the SMuFL documentation, and some glyph types for which no clear guidelines have been outlined, but where the registration seems inconsistent.
To make sure all my glyphs are in fact correctly and consistently spaced and registered, I would greatly appreciate some clarification on the following specific cases:
Glyphs intended for placement on stems:
Some of these are centred on the baseline and some are sitting on the baseline. Is this deliberately, or should these glyphs ideally be registered one way or the other?
Sagittal accidentals:
These have different amounts of space on the right side, while all other accidentals have zero-width side bearings. Is there a specific reason for spacing the sagittal ranges differently from other accidentals?
Clusters:
The square and round cluster noteheads (E120–E123) as well as the precomposed 2nd and 3rd diamond clusters (E138–E13B) are sitting on the baseline contrary to the guidelines for registration of clusters. I know some of these glyphs are most often used for clusters of non specific pitch, but even so, I can’t think of a good reason why they should have a different registration.
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