engraving sheet music fonts into word file

RP: I guess you could say I just wasn’t satisfied with the other fonts I was seeing. SY: Did you perceive a need for new music fonts at the time? Then, little by little, manipulating curves on my own, I started designing a font: November! You can get really deep into the glyph it’s fascinating. Once you free yourselves from the pixels you can go quite far with the curves. And those curves are what make up a font. Fonts used to be made of pixels, or bitmaps, but then when the computers got more powerful you were able to define a glyph from points and the perfect curves that pass through them. I played with glyphs all day long!Īt first I would scan existing characters and transform them into vectors – mathematical curves – which all digital fonts are. So I switched from engraving to font work – Paul was fine with that – and began reading scores and scanning them so that I could magnify the glyphs and examine them, enlarge them and print them out at as many as fifty times their size. In addition to engraving, I discovered something that piqued my interest even more: music font design. I had decided to go to London for a couple of months to work with an engraver named Paul Ewers. Robert Piéchaud: November goes back to November 1998. Scott Yoho: Can you give us some background on the origin of the November music font?

So for today, we’ll limit our conversation to font matters. Recently Robert has returned his attention to music font design and today has released a greatly improved and expanded version of his beautiful font, November 2.0. Clearly a proper interview on the Finale Blog is long overdue. Among his many and varied interests he’s a composer, a performer, and a veteran Finale software engineer, having created Human Playback, FinaleScript, Score Merger, the Medieval plug-in, and more. Parisian Robert Piéchaud really is a Renaissance man.

Engraving sheet music fonts into word file