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We're going to end our look at type inside of Illustrator with a brief examination of the Glyphs palette, which is probably the coolest of the type-oriented palettes inside the program. So here is what I want you to do. I want you to go up to the Type menu and choose the Glyphs command. That's the easiest way to get to the Glyphs palette and by Glyphs, think of hieroglyphics. So these are going to be all of the characters that are available to a given font. So I'll go ahead and choose the Glyphs command in order to bring up this palette and I can scale this palette, notice this. So that we can see more characters at a time and I can even scale the palette so that it covers up other palettes in the background if I want to.
Notice that we're seeing not only all the alphabetic characters, but we're also seeing things like there is the Bullet. Very easy to find here inside the Glyphs palette, even though it was so difficult to find inside the Character Map palette. Now why is that? For example, why aren't we seeing all those Ethiopian characters and all that jazz that we were seeing in the Character Map palette, all those Hebrew characters and the Arabic characters and so on? Well, that's because they are not really part of Adobe Caslon Pro. Adobe Caslon Pro doesn't have any characters beyond the standard Western alphabetic characters and their accented variations here.
The reason the Character Map palette shows you those characters is that you can get to them from a different font. So it goes ahead and shows you that those are available because they do correspond to a certain Unicode number that we are at inside the palette at that given moment in time. So what Illustrator is doing for us is it's just skipping all of those characters which would be located around this region here and it's just taking a straight from the center period to the dagger or the dieresis and the bullet and so on. So much easier to locate characters that actually matter and they are actually part of a given font.
All right, so I'm going to move the Glyphs palette over just a moment here. If I had a bigger screen of course, I could have a big collapse of Glyphs palette. What I do at my office actually I have got two monitors and I have a Glyphs palette sitting there big and massive on my side monitor and then of course I have Illustrator on the primary monitor. What I'm going to do here is double- click inside of my text just to make it active and the Glyphs palette will now just goes ahead and automatically shift to whatever font I'm using at this location which happens to be still Adobe Caslon Pro. Let's go ahead and make things a little narrower though, so that we can see both the entirety of the palette and our text at the same time. I might even make it just a couple of columns narrower. There we go. That looks pretty good.
Now, you can find whatever characters you want to work with. For example, inside of Adobe Caslon Pro, if we scroll to the mid section of the font, we have all these ornaments that are available to us. If I want to insert this pineapple for example right there whatever the heck that thing is. All I need to do is go ahead and double-click on it and then Illustrator goes ahead and adds it to my text. Now I can see the Unicode number, notice that right here next to the word Entire Font. I can see the Unicode for any character that I hover over. I cannot see the Alt key shortcut required to get that character on the PC or the key required to get the character on the Mac, if indeed there was a character for the pineapple which there isn't.
So anyway you can do whatever, double- click on these guys. You can make them bigger if you want to see a character bigger without inserting it, then you click on these little big mountains over here in order to zoom in and you can also zoom out, but of course. If you want to check whether a font has a specific kind of character for example small caps. Does this font include small caps? Well, you can see the small caps right there, so you know that they are available and if you look at that Unicode description just above my cursor up there, you can see that this is a small capital, all of these letters right here are small capital. So if I move over this ft there, it's going to tell me that that's a Standard Ligature. So I know that one is standard, this ff is standard, this fl is considered to be standard. If I go over, this fh is considered to be standard.
What word includes fh I wonder? Then we've got this guy right there, which is a Discretionary Ligature. So Illustrator is going to go ahead and tell us what each of these characters are, but another way to see whether you have small capitals is to go ahead and scroll up the list to something like the A right there. Then click and hold it and you will see the A variations. There is a capital A. There is this ornament, I guess that goes along with A and then there is the small cap right there and it even tells you that it's a small capital letter and then if I was to switch to the Italic version of Adobe Caslon Pro, so switch away from Regular to Italic, then I could click and hold on the A to see that there is a regular standard A and no longer small cap, but instead a swash variation right there that's available to me.
So there is various variations that are available to various characters here inside of an OpenType font such as Adobe Caslon Pro of course. Now one of the things you have to keep an eye out for is that every time you choose a character like, if I were to choose the swash A, it gets added right there to my document. So you just need to make sure that you want the characters that you are adding to be added. I'm going to go ahead and get rid of those guys and notice, by the way, I want you to see this too. There is all kinds of mathematical operators inside of these fonts. There are your fractions in eights, all of them there.
There is your fraction symbol, if you had to build your own and somewhere you are going to find the ordinal versions of the numbers. For example, 2s. If I click and hold on 2, look at all the 2s that are available to us right there. We've got a small capital 2; we've got another small capital 2. I'm not sure what's going on there. We've got an alternate. That's a raised alternate right there. So all kinds of different -- we've also got a denominator. So the numerators are the ones that sit up top and then the denominators are the ones that are below and if you want to see those by the way, notice that this option right here is set to Entire Font. Let's go ahead and switch that from Entire Font to something like Small Capitals. You could check out just the small capitals that are available to us inside of this font including percent and per thousand I think that is right there.
Then we've got let's see, let me look down the list. So there is my numerators. These would be the raised numbers right there and then there are our denominators and so on. So you can check out all the different kinds of glyphs that reside inside of a certain font. All right, I'm going to go ahead and switch back to Entire Font. Notice, at the beginning of the byline there, I have got a special ornament and if I were to select that ornament, I could see that this ornament is actually set in Adobe Garamond Pro Italic which is another font that ships along with the Design Premium version of the Creative Suite.
So let's say that I want a similar ornament to be on the other side of the byline. So let's go ahead and move over the Glyphs palette again for a moment and I'll click after the E and then I'll press the right-arrow key, because there is a space right after that E as you can see and by the way, I'm working in a document. I didn't even tell you this. Shame on me. I'm working in a document called Close to complete.ai found inside the 08_type folder in case you want to catch up with me. But anyway there is a space right there, so I press the right-arrow key to move to it and now I'll bring back my Glyphs palette if I haven't gotten rid of it for all time, ready to go. Let's go ahead and choose Glyphs again to bring it up.
All right, there it is. I must have moved it. Oh! Look at what I did? I moved it over into this group. I wasn't even noticing what I was doing. My goodness. You can do that of course. You can go ahead and group it with the other palettes, if you so desire. I'm going to go ahead and move it out and make this palette a little narrower. So it's not taking up so much room. It doesn't need to be this tall either. Let's go ahead and shrink it this way. All right, and hide it, get out of here. Okay, so here we are inside the Glyphs palette as I was saying. Let's go ahead and switch to that font which was Adobe Garamond Pro. So I'll just go ahead and select the font and change it to Adobe G and that will get me Adobe Garamond Pro like so, or I could have chosen it from the menu. Then I'll press the Tab key to advance to my Type style right there and I'll type I for Italic and I'll press Tab again in order to bring up the Italic version of the font.
All right, now let's scroll to the very, very end and there is that character, that special ornament we saw a moment ago at the beginning of the caption and I want this time to add this character right there. So I'll double-click on it to add this special character to the end of my byline. All right, let's go ahead and hide the Glyphs palette from view since it's taking up just so much room. Oh, I made yet another column, my goodness. You know what, Glyphs, let's just put you there, since you really want to be part of that column, you can be a part of it. I am going to press the Escape key and click off the text to deselect it.
This is the final version of this document. Thanks to the power of advanced formatting, OpenType, and the Glyphs palette here inside Illustrator.
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