Portuguese (Brazil) terms

Portable term table, snapshot of 04 October 2026, generated from the core translation memory localization/pt-core.tmx of the FontLab writing guide by tools/scripts/export_terms.py. 55 of 289 terms are approved or protected; a proposed translation is a candidate for a native reviewer, and the English term is the fallback until it is approved. Use newer supplied project data when it disagrees with this snapshot.

A status of do-not-translate protects the English spelling; it does not approve a draft English name. The definition says what the term means in FontLab; the note says why the translation was chosen or how to inflect it. The fallback original term is a plain English phrase to translate instead of the term when the term itself will not travel (stem: main stroke; overshoot: optical surplus).

Names

English	Fallback	Portuguese (Brazil)	Status	Note	Definition
Adobe Illustrator		Adobe Illustrator	do-not-translate		Adobe Illustrator is the host application for the Vexy Illustrator plug-ins. Use the full name on first mention, then Illustrator. Vexy Lines and Vexy Playlines are separate applications; do not describe them as Illustrator plug-ins.
app.fontographer.net		app.fontographer.net	do-not-translate		app.fontographer.net is the address of the browser edition of Fontographer. Preserve the lowercase domain when naming the destination. Use Fontographer when referring to the application itself.
FLUM		FLUM	do-not-translate		FLUM is an internal documentation-project name, not a customer-facing product or feature. Omit it from published instructions. Refer to the relevant product documentation when directing a reader to help.
FontLab		FontLab	do-not-translate		FontLab is the name of the desktop font editor. Preserve its capital F and L in headings and prose. Fontlab Ltd. names the company; the lowercase fontlab spelling belongs to identifiers such as the Python module and website domains.
fontlab (Python module)		fontlab (Python module)	do-not-translate		The fontlab Python module exposes FontLab scripting functionality. Its name is lowercase and case sensitive. Format it as code in prose, and keep the application name FontLab distinct from the module name in examples.
FontLab 8		FontLab 8	do-not-translate		FontLab 8 names version 8 of the desktop font editor. Put one space before the version number. After establishing the version, use FontLab alone where no other version could be meant. Retain the number in compatibility statements and version-specific instructions.
FontLab 9		FontLab 9	do-not-translate		FontLab 9 is a versioned product name whose house usage remains draft. Its appearance in an interface or format description does not establish release availability. Confirm the version and intended audience before using it in new prose; preserve it when quoting an exact label.
Fontlab Ltd.		Fontlab Ltd.	do-not-translate		Fontlab Ltd. is the company name. Preserve the lowercase l in Fontlab and the period after Ltd. Use FontLab, with a capital L, for the product. The two spellings identify different entities and must not be normalized into one.
FontLab Pass		FontLab Pass	do-not-translate		FontLab Pass is the identity and licensing service at pass.fontlab.com. Use the complete service name when explaining account or licence management. Distinguish the service from the FontLab account used to sign in.
FontLab Studio 5		FontLab Studio 5	do-not-translate		FontLab Studio 5 is a historical version of the font editor. Use the full name in migration instructions, historical descriptions and compatibility statements. Do not shorten it to Studio or use it as the name of another FontLab version.
fontlab.com		fontlab.com	do-not-translate		fontlab.com is the main FontLab website address. Preserve the lowercase domain. Link to the relevant page when a reader needs a particular product, download or instruction, rather than sending every task to the home page.
Fontographer		Fontographer	do-not-translate		Fontographer names a font editor. For its browser edition, use app.fontographer.net as the address. Distinguish a historical numbered edition when compatibility or migration depends on it. Preserve Fontographer.net only where it belongs to an exact project or command label.
Fontographer.net		Fontographer.net	do-not-translate		Fontographer.net occurs in project and command labels. Preserve it when quoting an interface label that uses this spelling. Use Fontographer for the application in ordinary prose and app.fontographer.net for its browser address. Broader house usage of Fontographer.net remains draft.
forum.fontlab.com		forum.fontlab.com	do-not-translate		forum.fontlab.com is the FontLab user-forum address. Use it for a relevant discussion or community question, and identify the destination. A documentation link is preferable when the reader needs an established procedure rather than a discussion.
GlyphRef		GlyphRef	do-not-translate		GlyphRef is the class used to reference a Fontographer glyph through its scripting interface. Preserve the capital G and R and format the name as code. Keep the API identifier separate from the ordinary word glyph.
help.fontlab.com		help.fontlab.com	do-not-translate		help.fontlab.com is a FontLab documentation address. Preserve its lowercase spelling and identify the product or article when linking to it. Use a specific documentation page when the reader needs a particular procedure or reference.
help.vexy.art		help.vexy.art	do-not-translate		help.vexy.art is the Vexy documentation address. Name the relevant product when linking to it, since the Vexy products share vocabulary but differ in features and workflows. Preserve the lowercase domain.
pass.fontlab.com		pass.fontlab.com	do-not-translate		pass.fontlab.com is the address for FontLab account and licence management. Use the domain when naming the destination and FontLab Pass when naming the service. Explain the action the reader can perform there.
Photofont		Photofont	do-not-translate		Photofont is a protected Fontlab Ltd. name, written as one word with a capital P. Preserve this spelling in a notice or reference. Confirm the relevant product and version before adding a claim about functionality.
playlines.vexy.art		playlines.vexy.art	do-not-translate		playlines.vexy.art is the address of Vexy Playlines, the browser application. Preserve the lowercase domain. Use the product name for the application and the address for the destination the reader opens.
Strokes Maker		Strokes Maker	do-not-translate		Strokes Maker is a former name of Vexy Lines. Use Vexy Lines for the current product and retain Strokes Maker when identifying a historical release or explaining the name change. Do not rename an old interface label inside a quotation.
studio.fontlab.com		studio.fontlab.com	do-not-translate		studio.fontlab.com is an unconfirmed service address in the naming register. Keep it draft and do not direct readers there without confirmation of the destination and its availability. A recorded spelling does not establish that a service exists.
TransType 5		TransType 5	do-not-translate		TransType 5 names version 5 of the font conversion application. Keep TransType as one word with capital T in both parts, followed by one space and the version. Use TransType after establishing the version; declare TrT before using it as a short form.
TypeTool		TypeTool	do-not-translate		TypeTool is a protected Fontlab Ltd. product name, written as one word with two capital Ts. Preserve that spelling when naming the product or quoting a notice. Confirm the relevant version before describing its features or compatibility.
Vexy		Vexy	do-not-translate		Vexy is the family prefix in Vexy Lines, Vexy Linestra, Vexy Playlines and Vexy Vextra. It is not a standalone application name. Identify the product when describing an operation; retain Vexy alone when it is the exact name of an interface category.
Vexy Lines		Vexy Lines	do-not-translate		Vexy Lines is the standalone desktop application for converting a bitmap into vector artwork through algorithmic fills. Keep the full two-word name. Distinguish it from Vexy Playlines, the browser application, and from the Vexy Illustrator plug-ins. Its native project format is .lines.
Vexy Linestra		Vexy Linestra	do-not-translate		Vexy Linestra is the Adobe Illustrator plug-in for parametric line fills. Use the two-word product name in prose. Preserve the closed spelling VexyLinestra in an exact filename such as VexyLinestra.aip; a filename spelling does not replace the product name.
Vexy Playlines		Vexy Playlines	do-not-translate		Vexy Playlines is the browser application for converting images into vector artwork at playlines.vexy.art. Use the full name in titles and on first mention, then Playlines where unambiguous. Keep it distinct from Vexy Lines, the desktop application.
Vexy Vextra		Vexy Vextra	do-not-translate		Vexy Vextra is the Adobe Illustrator plug-in for contour editing. Use the full name in a title and on first mention; Vextra is the declared short form. Preserve VexyVextra in an exact filename such as VexyVextra.aip.

Type design

English	Fallback	Portuguese (Brazil)	Status	Note	Definition
ascender	upward extension	ascendente	proposed	Glyphs 3 (pt-BR), InDesign and Bringhurst, Elementos do estilo tipográfico (BR): ascendente, feminine (a ascendente).	An ascender is the part of a lowercase letter that extends above the x-height, as in b or d. Ascender height describes the intended alignment of these parts and may differ from cap height. Do not confuse this design measurement with similarly named vertical metrics in exported font tables. Line spacing depends on those fields and on the application using them.
baseline	writing line	linha de base	proposed	Bringhurst, Elementos do estilo tipográfico (BR), Just My Type (BR), Apple and InDesign: linha de base.	A baseline is a reference line used to align text. In conventional horizontal Latin font design, the baseline is at y = 0, with ascenders above it and descenders below it. Other scripts and layout systems can use different baseline conventions. Identify the relevant baseline when discussing alignment across scripts or vertical text.
bowl	round belly	bojo	proposed	Bringhurst, Elementos do estilo tipográfico (BR), O traço (Noordzij) and Just My Type (BR) all use bojo; Apple's tigela is the kitchen sense.	A bowl is a rounded stroke that encloses a counter, as in b, d or p. Its shape, thickness and junctions affect the letter's balance. The appropriate number of curve segments depends on the design. Nodes at extrema can help editing and hinting, but a fixed segment count does not guarantee compatible masters or good interpolation.
cap height	capital-letter height	altura de versal	proposed	Bringhurst, Elementos do estilo tipográfico (BR) uses altura de versal and versais for capitals. Glyphs 3 (pt-BR) has altura da maiúscula; a reviewer may prefer altura das maiúsculas.	Cap height is the distance from the baseline to the top of a flat capital such as H. Rounded or pointed capitals may extend beyond it through overshoot. Record the intended value in Font Info. Cap height describes a design measurement; alignment zones and line-spacing metrics are separate settings, even when their values are related.
character		caractere	proposed	Brazilian form in Apple, Adobe and Bringhurst (BR); carácter is European.	A character is an abstract unit of written text, such as a letter or punctuation mark. A glyph is its visual representation. The relationship is not one to one: several characters can form a ligature, and a character can have several glyph forms. A user-perceived character can also consist of several Unicode codepoints. Keep characters, codepoints and glyphs distinct when discussing encoding or text processing.
contour		contorno	proposed	Glyphs 3 (pt-BR) (Reverter contorno), Apple and Bringhurst (BR): contorno.	A contour is an open or closed sequence of connected line and curve segments. Its nodes and control points describe its geometry. One glyph or vector object can contain several contours. A counter is an area of space, not a synonym for a contour. When explaining fill behaviour, identify the outline format and fill rule before prescribing a contour direction.
counter	enclosed white space	contraforma	proposed	Priscila Farias and the Brazilian foundry Plau use contraforma; Bringhurst (BR) has miolo and Just My Type (BR) olho, which also means the face of the type. The corpus pick contador is the office sense.	A counter is the enclosed or partly enclosed space within a letterform, such as the enclosed space in an o or the open space in a c. The surrounding strokes define it. A closed counter may have an inner contour as its boundary; an open counter does not require a separate contour. Judge its size and shape together with the surrounding strokes.
descender	downward extension	descendente	proposed	Glyphs 3 (pt-BR), InDesign and Bringhurst, Elementos do estilo tipográfico (BR): descendente, feminine.	A descender is the part of a letter that extends below the baseline, as in p or y. Its design height is usually recorded as a negative coordinate relative to the baseline. Exported descender metrics are separate fields used by applications for layout. Whether a deep glyph clips depends on the relevant metrics, application and text container, not on one design value alone.
diacritical mark	combining mark	diacrítico	proposed	Bringhurst, Elementos do estilo tipográfico (BR) uses diacrítico and sinal diacrítico; Glyphs 3 (pt-BR) has Diacríticos. The shorter form is kept.	A diacritical mark is a small sign, such as an acute or a cedilla, that attaches to a base letter to form another character. FontLab builds accented glyphs from a base and a mark through anchors, and the GDEF mark class tells the shaper which glyphs are marks. Say mark glyph for the class member and diacritical mark for the sign.
em	type body	eme	proposed	Bringhurst, Elementos do estilo tipográfico (BR) uses eme throughout and Glyphs 3 (pt-BR) has Unidades por Eme. Quadratim is the metal-type quad and is rejected.	The em is the square on which a typeface is designed, historically the body of the letter M in metal type. Its height equals the type size, so an em in 12 point text is 12 points. In a digital font the em is divided into UPM font units.
extremum	local extreme point	extremo	proposed	Glyphs 3 (pt-BR): Adicionar extremos.	An extremum is a point where a curve reaches a local leftmost, rightmost, topmost or bottommost position. The plural is extrema. Placing nodes at extrema can help editing and hinting. If you add nodes to masters intended for interpolation, preserve the correspondence between their contours and points. Different extremum positions alone do not make masters incompatible.
glyph		glifo	proposed	Glyphs 3 (pt-BR), Font Book, InDesign and Bringhurst, Elementos do estilo tipográfico (BR): glifo.	A glyph is one drawn shape in a font: a letter, a figure, a mark, or a piece of a composite. A character is what a reader types and a glyph is what a renderer draws, and one character can map to several glyphs while several characters can map to one. You edit a glyph in the Glyph window, where its contours, elements, anchors, and metrics all live together. The distinction matters in any sentence about encoding, since a font maps codepoints to glyphs through the cmap table.
handle		alça	proposed	Glyphs 3 (pt-BR) (Tamanho da alça) and Illustrator pt-BR use alça. The corpus pick manipulador is rare among Brazilian designers.	A handle is an off-curve control point used to shape a curve segment. A cubic Bézier segment has two control points; a quadratic segment has one. Moving a handle changes the curve without moving its endpoints. In tools that display handle arms, the arm connects a control point to an endpoint. Name the curve type when the number or behaviour of handles matters.
ink trap	ink relief notch	armadilha de tinta	proposed	Used beside the loan ink trap in Brazilian type-revival papers (Encontro Internacional de Cultura Gráfica 2023); not in the corpus.	An ink trap is a notch cut into a corner where strokes meet, so ink spread or rasterization at small sizes does not clog the join. FontLab makes them as a live Smart Corner variant.
italic angle	slant angle	ângulo do itálico	proposed	Glyphs 3 (pt-BR): Ângulo do itálico.	The italic angle is the slope of the upright strokes of an italic or oblique design, measured from the vertical in degrees. FontLab stores it in Font Info, uses it to slant guides and the cursor, and writes it into the post and hhea tables. It is a property of the design, not of a transformation.
lining figures	capital-height figures	algarismos alinhados	proposed	Bringhurst, Elementos do estilo tipográfico (BR) has algarismos alinhados and Pensar com tipos (Lupton) numerais alinhados. Glyphs 3 (pt-BR) has algarismos lineares, which no textbook uses.	Lining figures are digits that share the cap height and sit on the baseline, so they align with capitals in tables and headlines. The lnum feature selects them where a font defaults to oldstyle figures.
node		nó	proposed	Glyphs 3 (pt-BR): nó, nós.	A node is a point on a contour where segments meet, and its type decides how they meet. A sharp node lets two segments arrive at any angle. A smooth node keeps the handles collinear so the curve passes through without a kink. A tangent node joins a line to a curve smoothly. A G2 node matches curvature as well as direction. You select a node and drag it, or nudge it, and the segments on both sides follow. Put nodes at the extremes so hinting and interpolation have something to hold.
overshoot	optical surplus	overshoot	proposed	Loan used by the Brazilian foundry Plau (zona de overshoot); no native term is established. Compensação óptica is a gloss, not a term.	Overshoot is the extension of a rounded or pointed shape beyond an alignment line so that it appears as tall as a flat shape. For example, an o may extend above the x-height and below the baseline. Its amount depends on the design and intended size. PostScript alignment zones can describe these overshoot regions for hinting; there is no universal percentage to apply.
proportional figures	natural-width figures	algarismos proporcionais	proposed	InDesign pt-BR, with the noun algarismos of Bringhurst (BR) and Glyphs 3.	Proportional figures have individual advance widths, so a 1 takes less room than an 8. They read well in running text; tabular figures share one width for columns. The pnum feature selects them.
segment		segmento	proposed	Microsoft Visio pt-BR and general geometry.	A segment is the portion of a contour between two on-curve endpoints. It may be a straight line or a curve. A quadratic Bézier segment has one off-curve control point; a cubic segment has two. Describe the segment type and the relevant editing command rather than assuming that every curve has two handles or that changing a node type performs every conversion.
serif		serifa	proposed	Bringhurst, Elementos do estilo tipográfico (BR), Font Book and Just My Type (BR): serifa.	A serif is the finishing stroke at the end of a stem or arm. Its shape sorts a face into the familiar classes: oldstyle, transitional, Didone, slab. You draw a serif once and reuse it as a component or an element, which keeps a family consistent and makes a late change cheap. Serifs are small, so they take the most damage at low resolution, which is where hinting and careful alignment zones earn their place.
sharp		agudo	proposed	No firm attestation; agudo is the plain word for pointed. The node itself is nó de canto; the corpus pick nítido is the image-sharpening sense.	Sharp describes a pointed corner or a node at which contour direction can change abruptly. Image sharpening is a different operation.
sharp node		nó de canto	proposed	Glyphs 3 (pt-BR) preferences name it nó de canto, and Illustrator pt-BR has ponto de canto. It does not derive from agudo, the adjective chosen for sharp.	A sharp node joins contour segments without requiring a smooth change of direction. The handles of adjacent segments need not be collinear; a smooth node constrains their direction.
stem	main stroke	haste	proposed	Glyphs 3 (pt-BR), Bringhurst, Elementos do estilo tipográfico (BR), O traço (Noordzij) and Just My Type (BR): haste. Glyphs 3 leaves Stem in one string.	A stem is a main stroke of a letter, usually the vertical one: the two uprights of an H, the single upright of an l. Stem width sets the weight of a face, and stems that disagree across a family break its rhythm. You measure a stem with the Measurement tool and record the standard widths in Font Info, where hinting and the stem links read them. Vextra reuses the word for the paired edges it detects in general artwork, not only in letters.
swash	flourish	swash	proposed	Loan kept by Glyphs 3 (pt-BR) and InDesign pt-BR and used by Brazilian designers. Bringhurst, Elementos do estilo tipográfico (BR) and Just My Type (BR) say caudal, Apple floreado; floreio is the native alternative.	A swash is a decorative flourish that extends a letter, often on a capital or a terminal. Swash alternates live in the swsh feature and in glyphs with a swash suffix.
terminal	stroke ending	terminal	proposed	Bringhurst, Elementos do estilo tipográfico (BR) and Just My Type (BR): terminal, masculine.	A terminal is the end of a stroke without a serif, such as the ending of a c or f. Its shape may be rounded, angled or cut off, depending on the design. Compare related terminals across a typeface at the intended reading size. The anatomical term does not prescribe how to construct or store the shape in an editor.
UPM	units per type body	unidades por eme	proposed	Glyphs 3 (pt-BR): Unidades por Eme. Keep numeric controls compact: LSB/RSB (French AG/AD), UPM and PPM. Expanded terms belong in explanatory help; the full Family Dimensions Units Per eM label is an intentional exception. Team UI convention in Proteus 1751b28b0.	UPM, units per em, specifies how many font units make up one em. It sets the scale for outline coordinates and metrics when a renderer converts them to a text size. Values such as 1000 and 2048 are common; TrueType outlines do not require a power of two. When changing UPM, distinguish changing the scale value from rescaling the outlines and metrics.
winding direction	drawing direction	sentido do contorno	proposed	No attestation; Portuguese says sentido horário and anti-horário, so sentido is the noun.	Winding direction is the order in which a contour runs, clockwise or counter-clockwise, and it decides which areas the renderer fills. FontLab follows the PostScript convention: outer contours wind counter-clockwise and counters wind clockwise. The letter O is two contours, one each way. You check direction before you export, and reverse a contour when a counter fills solid or an outer shape turns hollow. A renderer applies the rule at draw time, so the error shows in the proof rather than in the editor.
x-height	small-letter height	altura-x	proposed	Glyphs 3 (pt-BR), Bringhurst, Elementos do estilo tipográfico (BR) and Just My Type (BR): altura-x.	The x-height is the height of a lowercase x above the baseline, and it stands for the height of the lowercase in general. It does more for apparent size than the point size does: two faces at the same size look different when their x-heights differ. You record it in Font Info so hinting and alignment zones can use it, and you draw round letters slightly above it to allow for overshoot. Write it lowercase with a hyphen, even at the start of a sentence recast to avoid one.

Font engineering

English	Fallback	Portuguese (Brazil)	Status	Note	Definition
advance height		altura de avanço	proposed	No attestation; built on avanço to mirror largura de avanço. Glyphs 3 says largura vertical, which contradicts itself.	The distance the text position advances vertically after a glyph. It is the vertical counterpart of advance width, not the height of the visible outline.
advance width	glyph box width	largura de avanço	proposed	The pt-BR wording for advance width in Google's font-metrics documentation; Glyphs 3 shortens it to largura, which would collide with the width axis and geometric width.	Advance width is the horizontal distance allocated to a glyph before layout adjustments, measured in font units. In an OpenType font, the base values are stored in the hmtx table. Kerning and other positioning operations can adjust advances during layout without rewriting those base values. Advance width differs from the visible outline width; a space can have an advance without an outline.
alignment zone	height band for snapping	zona de alinhamento	proposed	Glyphs 3 (pt-BR): Zonas de alinhamento.	An alignment zone is a region around a common vertical alignment, such as the baseline or cap height, used in PostScript hinting. It can include the overshoot of rounded letters. A rasterizer uses zone information when fitting outlines to a pixel grid. Keep this mechanism distinct from design measurements and from the control-value and instruction mechanisms used in TrueType hinting.
anchor	attachment point	âncora	proposed	Glyphs 3 (pt-BR) and FontForge: âncora. Ponto de ancoragem is Illustrator's on-curve point and is rejected here.	An anchor is a named attachment point in a glyph that says where a mark belongs. A base letter carries a top anchor, and the accent carries a matching one, so the accent lands in the same relation on every letter that uses it. You place anchors in the Anchors and Pins panel, and FontLab uses them both to build composites and to generate mark attachment lookups in GPOS, which is what positions marks in text the font never composed itself.
anti-aliasing	edge smoothing	suavização	proposed	Krita and Adobe pt-BR use suavização; the purist antisserrilhamento is rare and long.	Anti-aliasing paints partly covered pixels in intermediate shades so a rendered outline looks smooth. FontLab's preview can show anti-aliased, monochrome or subpixel rendering so you can check how hints behave under each. Write the hyphenated form.
autohinting	automatic screen fitting	autohinting	proposed	Professional loan; Glyphs 3 (pt-BR) keeps autohinting and Bringhurst (BR) keeps hinting.	Autohinting generates hints for a font from its outlines and its declared stems and zones, in one pass over the glyphs. It is a starting point rather than a finish: it hints the regular cases well and leaves the awkward glyphs for you. You run it after the alignment zones and standard stem widths are correct in Font Info, because it reads them. Then you check the glyphs that matter at text sizes and correct by hand what the pass got wrong.
axis		eixo	proposed	InDesign, Illustrator, Glyphs 3 (pt-BR) and Bringhurst, Elementos do estilo tipográfico (BR): eixo.	An axis is one dimension of font variation, such as weight, width or optical size. In an OpenType variable font, each axis has a four-character tag and a minimum, default and maximum value. Registered tags, such as wght, have defined meanings. Preserve tag spelling and case, and check the axis registry when assigning a custom tag.
axis map	axis value mapping	mapeamento de eixo	proposed	No attestation; fallback translated from eixo.	An axis map converts user coordinates on an axis, such as weight 400, to the design coordinates of the masters. It is stored in the avar table and lets a slider feel even when masters are not.
bottom sidebearing		espaço inferior	proposed	No attestation; built on the espaço lateral family, dropping lateral because the space is below the glyph.	The space below the glyph outline within its vertical advance. This value participates in vertical text spacing rather than horizontal spacing.
component		componente	proposed	Glyphs 3 (pt-BR): componente, masculine (o componente).	A component is a reference to another glyph placed inside this one, so that aacute holds the a and the acute rather than copies of their outlines. Change the source glyph and every glyph that references it follows. You build composites from components, position them with anchors, and keep them as references through to export, where a TrueType flavoured font stores them in the glyf table. In FontLab a component is one kind of element reference.
composite glyph	assembled glyph	glifo composto	proposed	No tool attestation; fallback translated, parallel to Spanish glifo compuesto.	A composite glyph is built from references to other glyphs rather than from its own outlines: an accented letter, a currency symbol with a bar, a stacked fraction. You assemble it from components and anchor them to the base, so a change to the base or to the mark reaches every composite that uses it. Composites keep a large accented character set consistent and small. A composite that has been decomposed is no longer one, and no longer follows its sources.
conversion profile	export settings set	perfil de conversão	proposed	No attestation; translated literally.	A conversion profile is the saved set of choices TransType applies to a conversion: the output format, the naming scheme, the filters, and the options that go with them. You build a profile once for a job you repeat, then run it over a new set of sources without repeating the decisions. It matters because a family converted with two different sets of options ships as two families that do not quite match, which shows up in a font menu rather than in a test.
CVT table		tabela CVT	proposed	Tag kept, noun translated; tabela is the pt-BR word for a font table.	The CVT table holds the control values that TrueType hinting instructions refer to: the stem widths, heights, and other measurements a font wants held constant across glyphs. An instruction cites a CVT entry rather than a raw number, so one change to the table reaches every glyph that cites it. You work with it through the TrueType Hinting panel. It ships in the font, alongside the instructions themselves and the prep and fpgm programs that set the machine up.
design space	variation range	espaço de design	proposed	Brazilian variable-font literature writes espaço de design; Glyphs 3 says espaço de interpolação in one message.	A design space describes the positions defined by a font project's variation axes. Masters provide source data at specified locations; instances represent results at selected locations. User coordinates and internal design coordinates may be connected by a mapping, or may have the same values. State which coordinate system a number belongs to when the distinction affects a procedure.
device correction	per-size pixel correction	correção de tamanho	proposed	No attestation; follows the reviewed languages (size correction).	A device correction adjusts a kerning or positioning value by whole pixels at one pixel size, to fix rounding at that size only. Stored in GPOS device tables; rarely needed on modern rasterizers.
dimensions		dimensões	proposed	Plain cognate, as French dimensions; keeps métricas free for glyph spacing.	The font or family vertical values, such as ascender, descender, capital height, x-height and line gap. Distinguish these values from glyph spacing and canvas measurements.
element		elemento	proposed	Plain cognate used by Apple and Microsoft pt-BR.	An element is FontLab's container for a piece of drawing inside a glyph: one or more contours, an image, or a reference to another element. A glyph holds elements, and an element holds contours, which is the layer of structure that makes a serif or a stem reusable across a family. You work with elements in the Elements panel and with the Element tool. The word is FontLab's own; other editors call the nearest thing a path group or a component.
element reference	shared drawing link	referência de elemento	proposed	No attestation; derived from elemento and referência.	An element reference is a placed copy of an element that still points at the original. Edit the original and every reference updates. You use references to share a serif, a stem, or a whole letter across a family, and you decompose a reference only when a glyph genuinely needs to diverge. A component is the familiar case of an element reference: one glyph placed inside another. Keep references intact through the design phase, since decomposing early throws away the link that makes a late change cheap.
family dimensions		dimensões da família	proposed	No attestation; derived from dimensões.	The vertical values used to establish line layout for a font family. Platform-specific ascender, descender and line-gap fields belong to this group.
Flex		Flex	proposed	Fixed PostScript hint name; Glyphs 3 (pt-BR) keeps Flex.	Flex is a PostScript hint that flattens a shallow curve, such as a cup serif, to a straight line at small sizes. FontLab marks glyphs that carry it. Keep the name.
font dimensions		dimensões da fonte	proposed	No attestation; derived from dimensões.	The design dimensions of a font master, including ascender, descender, capital height and x-height. These values describe the vertical proportions of the design.
font target	export target	fonte de destino	proposed	No attestation; fallback translated.	A font target is what TransType produces from a source: the output font, with its format, its names, and the filters applied on the way. Sources go in on one side and targets come out on the other, and one source can produce several targets. You set the target options before you convert, and you name the target in a procedure step so a reader knows which side of the conversion a setting belongs to.
font unit		unidade da fonte	proposed	No attestation; translated literally.	A font unit is the coordinate step of a font's design grid. UPM says how many of them make one em, so a 700 unit stem in a 1000 UPM font is 70 percent of the em. Metrics, kerning values and node coordinates are all stated in font units.
fractional coordinates	non-integer coordinates	coordenadas fracionárias	proposed	No attestation; the standard Portuguese technical adjective for non-integer values.	Fractional coordinates are node positions with decimal places, kept for curve fidelity while you draw. Font formats store integers, so FontLab rounds on export or when you turn on Round coordinates for the font.
friendly glyph name	readable glyph name	nome legível	proposed	No attestation; fallback translated, as Spanish nombre legible.	A friendly glyph name is the readable name FontLab shows for editing, such as Aacute, as opposed to the production name written into the exported font, such as uni00C1. FontLab can keep both and convert on export.
ghost hint	edge-only fitting instruction	hint fantasma	proposed	Glyphs 3 (pt-BR): Hint Fantasma.	A ghost hint is a PostScript hint with a special width that marks one edge, such as the top of a round letter, when there is no stem to hint. It aligns that edge to an alignment zone.
hint	screen fitting instruction	hint	proposed	Professional loan; Glyphs 3 (pt-BR) (Adicionar hint) and Bringhurst, Elementos do estilo tipográfico (BR) keep hint. Dica is the tooltip sense.	A hint is a stored instruction that tells a rasterizer how to align a stem or a zone to the pixel grid at small sizes. PostScript hints describe stems and zones; TrueType hints are instructions. FontLab draws hints in the Glyph window and generates them with autohinting. The word stays English in every language.
hint zone	hinting height band	zona de hint	proposed	No attestation; derived from hint and Glyphs 3 zona.	A hint zone is a horizontal band, such as the baseline or the x-height, inside which a rasterizer snaps overshoots to the same pixel row. FontLab stores zones in Font Info and shows them in the Glyph window. An alignment zone is the PostScript name for the same thing; hint zone is the general term.
hinting	screen fitting	hinting	proposed	Professional loan in Glyphs 3 (pt-BR) and Bringhurst, Elementos do estilo tipográfico (BR).	Hinting is the extra information a font carries so that its outlines land predictably on a pixel grid at small sizes. PostScript hinting declares stems and alignment zones and leaves the rasterizer to interpret them. TrueType hinting gives instructions that move points explicitly, with the control values in the CVT table. You work on PostScript hints in the glyph and in Font Info, and on TrueType hints with the TrueType Hinting tool and panel. Autohinting produces a starting point you then correct.
instance	generated design	instância	proposed	Glyphs 3 (pt-BR): Instância.	An instance is a particular result at a location in a font's variation space. A named instance, such as Semibold, gives a selected location a name that applications can present. Other locations need not have names. In FontLab, configured instances can be exported as static fonts or included as named instances in a variable font.
interpolation		interpolação	proposed	Glyphs 3 (pt-BR), InDesign and O traço (Noordzij): interpolação.	Interpolation calculates values between source values. In font design, it can calculate outlines, metrics and other data from masters at specified design-space locations. Outline interpolation requires corresponding contour and point structures. Structural compatibility makes the calculation possible, but does not guarantee a good drawing: inspect intermediate results as well as the masters. Extrapolation calculates beyond the source range.
kern exception	pair spacing exception	exceção de kerning	proposed	No attestation; derived from kerning.	A kern exception is a pair value that overrides what the classes would otherwise apply. One member of a class rarely behaves like the rest, and the exception says so without breaking the class apart. You create one in the Kerning panel by kerning the single pair while its classes stay in place. Keep exceptions few: a class with many exceptions is the wrong class, and the cheaper fix is to split it rather than to list every disagreement.
kerning	pair spacing correction	kerning	proposed	Professional loan in Glyphs 3 (pt-BR), InDesign pt-BR and Bringhurst, Elementos do estilo tipográfico (BR).	Kerning adjusts the spacing of particular glyph combinations beyond their normal advances. A pair such as AV may need a different gap from the one produced by its unadjusted metrics. OpenType fonts commonly store horizontal kerning in GPOS lookups associated with the kern feature; some formats and workflows use a separate kern table. Name the mechanism when it matters to export or compatibility.
kerning class	pair spacing group	classe de kerning	proposed	Glyphs 3 (pt-BR): Classe de kerning.	A kerning class groups glyphs that need the same kerning. You put every glyph that behaves alike on one side into one class, then kern the class once instead of kerning each pair inside it. FontLab applies the class value to every member pair and keeps single pairs as exceptions where a member needs its own value. Classes matter because a text face carries thousands of readable pairs, and a hand kerned list of that size is unmaintainable. FontLab writes the result into GPOS as class based positioning.
kerning pair	spacing-corrected pair	par de kerning	proposed	FontForge pt (pares de kerning); derived from kerning.	A kerning pair associates two glyphs, or two kerning classes, with a spacing adjustment. In horizontal kerning, a negative value normally reduces the gap and a positive value increases it. An individual glyph pair may provide an exception to class kerning, but it can also exist without a class rule. Check pairs in representative text as well as in isolation.
left sidebearing		espaço lateral esquerdo	proposed	Derived from espaço lateral. Glyphs 3 abbreviates it LE. Keep numeric controls compact: LSB/RSB (French AG/AD), UPM and PPM. Expanded terms belong in explanatory help; the full Family Dimensions Units Per eM label is an intentional exception. Team UI convention in Proteus 1751b28b0.	The horizontal space between the glyph origin and the left edge of its outline. It contributes to the glyph advance width and its spacing.
Lib		Lib	proposed	Identifier of the UFO lib; kept.	Lib is the custom metadata dictionary of a font or a master, mirroring the UFO lib and stored in VFJ. Scripts and tools keep their own keys there.
line gap		espaço entre linhas	proposed	No attestation. Entrelinha is rejected because in Brazilian usage (InDesign, Bringhurst) it is the whole baseline-to-baseline distance, not the extra gap.	The line gap is extra vertical space between lines that a font recommends beyond ascender and descender. hhea and OS/2 each store one.
line height		altura da linha	proposed	Common pt-BR software wording; no attestation in the font tools.	The distance between successive text baselines. It includes the relevant ascender, descender and line-gap contributions; line gap alone is only the additional space.
link metrics	tie spacing to another glyph	vincular métricas	proposed	No attestation; vincular is the pt-BR verb for linking in Adobe software.	Link metrics ties a glyph's sidebearing or advance width to another glyph or to an expression, so the value follows its source. FontLab shows linked metrics with the expression and updates them when the source changes.
linked metrics		métricas vinculadas	proposed	No attestation; derived from vincular métricas.	Glyph spacing values linked to another glyph or to an expression. Updating the source or expression changes the dependent advance width or sidebearings.
mark attachment	combining mark positioning	ancoragem de marcas	proposed	No attestation; built from âncora, with FontForge's marca. Rejected anexação, which reads as a file attachment.	Mark attachment positions a combining mark relative to a base glyph, a ligature component or another mark. OpenType GPOS lookups describe the anchor relationships, and the shaping engine applies the positioning during layout. FontLab can generate attachment code from suitable anchors. Check the relevant generation settings and test combinations, including stacked marks, rather than assuming that every anchor automatically becomes a lookup.
master	source design	mestra	proposed	Glyphs 3 (pt-BR) (Mestra, Mestras) and Brazilian variable-font papers use the feminine mestra. Rejected the office mestre/modelo; the loan master is also heard.	A master provides source outlines and other font data at a specified location in a design space. Masters can describe weight, width or other variations, including intermediate locations. FontLab uses corresponding data from masters to calculate instances. For outline interpolation, check contour and point compatibility in each affected glyph; the word master alone does not guarantee that every glyph is present or compatible.
master compatibility	matching master structure	compatibilidade de mestras	proposed	Glyphs 3 (pt-BR): compatibilidade de mestras.	Master compatibility is the condition every glyph must meet before it can interpolate: the same number of contours in the same order, with the same number of nodes and the same start point in each. FontLab reports incompatible glyphs and gives you Matchmaker to repair them by matching contours and start points between masters. Fix compatibility before you tune shapes, because a repair that reorders nodes moves every curve that depends on them.
metrics		métricas	proposed	Glyphs 3 (pt-BR) and Font Book pt-BR: métricas.	Metrics are the measurements that place a glyph in a line: its advance width and its two sidebearings. Vertical metrics are a separate set, the font wide values for ascender, descender, and line gap. You work on horizontal metrics in the Metrics panel and with the Metrics tool, and on vertical metrics in Font Info. Say which set you mean whenever a page discusses both, because a reader who applies a horizontal instruction to the vertical fields breaks line spacing everywhere the font is used.
metrics expression		expressão de métricas	proposed	No attestation; derived from métricas.	An expression that calculates a glyph advance width or sidebearing from other values. It describes a spacing relationship rather than a canvas measurement.
metrics key		chave de métricas	proposed	Glyphs 3 (pt-BR) wavers between chaves métricas and métricas-chave; the regular compound is chosen.	A glyph reference or expression used to derive a spacing value. The referenced value determines an advance width or sidebearing.
pin		pino	proposed	Issue 160 catalog family review: named point inside an element, distinct from a glyph-layer anchor. Proteus Resources/helptips.json def.anchorpin defines the behavior. Preserve this term across panel, tool, action and help labels; proposed terminology, not native-team approval.	A pin is a named point inside an element. Use pins to position elements with expressions and to attach elements to each other. An anchor is a named point in a glyph layer, used for component placement and mark attachment. Create either with the Guides tool and edit it in the Anchors and Pins panel.
PPM	pixels per type body	pixels por eme	proposed	Derived from eme, parallel to unidades por eme. Keep numeric controls compact: LSB/RSB (French AG/AD), UPM and PPM. Expanded terms belong in explanatory help; the full Family Dimensions Units Per eM label is an intentional exception. Team UI convention in Proteus 1751b28b0.	PPM, pixels per em, is the size at which a rasterizer renders a font: how many pixels one em occupies. TrueType hints, device corrections and bitmap strikes are specified per PPM. In explanatory prose expand it; in hinting fields the short form is usual.
production glyph name	shipping glyph name	nome de produção	proposed	Glyphs 3 (pt-BR): Nome de produção.	A production glyph name is the name written into the exported font, chosen for compatibility with tools and the Adobe Glyph List, such as uni00C1 rather than Aacute.
rendering	drawing on screen	renderização	proposed	Final Cut Pro, GIMP and Inkscape pt-BR: renderização.	Rendering is the conversion of an outline into pixels on a screen or a printer. The rasterizer of the operating system or of FontLab's preview reads the outline, applies the hints and paints the result. FontLab previews rendering at chosen pixel sizes so you can judge hints. Rasterization names the same step from the pixel side.
required glyphs	mandatory glyphs	glifos obrigatórios	proposed	No attestation; fallback translated.	Required glyphs are the ones the OpenType specification and common tools expect at the start of a font: .notdef, NULL or uni0000, CR or uni000D and space. FontLab can add them on export.
right sidebearing		espaço lateral direito	proposed	Derived from espaço lateral. Glyphs 3 abbreviates it LD. Keep numeric controls compact: LSB/RSB (French AG/AD), UPM and PPM. Expanded terms belong in explanatory help; the full Family Dimensions Units Per eM label is an intentional exception. Team UI convention in Proteus 1751b28b0.	The horizontal space between the right edge of a glyph outline and the end of its advance width. It contributes to spacing.
sidebearing	side space	espaço lateral	proposed	Brazilian type-design theses (UTFPR, UFSC, UFPE) and one passage of Bringhurst, Elementos do estilo tipográfico (BR) use espaços laterais. Bringhurst mostly has proteções laterais, also found in theses, and Glyphs 3 (pt-BR) barreiras laterais.	A sidebearing is the space between a glyph's outline and the edge of its advance width: the left sidebearing before the shape, the right sidebearing after it. Together with the advance width it sets how the glyph spaces against every other glyph, which is the work that carries a text face further than kerning does. You edit sidebearings in the Metrics panel or with the Metrics tool, one glyph at a time or across a selection, and you check them in a word rather than in isolation.
size		tamanho	proposed	Standard pt-BR term in Apple and Adobe.	The size of an object or the chosen size of displayed text. Name a specific width or height when only one direction is intended.
spacing		espaçamento	proposed	Glyphs 3 (pt-BR) and Apple pt-BR: Espaçamento. Bringhurst (BR) uses espacejamento, which is a book term.	The adjustment of glyph advance widths and sidebearings to establish the space between letters. Kerning makes additional adjustments to particular pairs.
standard stem	reference stem width	haste padrão	proposed	Derived from haste; no attestation of the compound.	Standard stems are the representative horizontal and vertical stem widths declared in a font for hinting. The rasterizer snaps stems near those widths to the same pixel count, so like stems stay alike at small sizes.
stem link	stem tie	vínculo de haste	proposed	No attestation; derived from haste and the vincular family.	A stem link ties two edges of a stroke together as a stem, so hinting can hold their distance as the size changes. A vertical link governs a horizontal measurement and a horizontal link governs a vertical one. You add links in the glyph, either by hand or from an autohinting pass, and you keep them consistent with the standard stem widths declared in Font Info. Vextra reuses the term for the paired edges it detects in artwork that is not type.
styling group name		nome do grupo de estilos	proposed	No attestation; translated literally.	The styling group name, SGN, ties together the styles an application reaches through its bold and italic buttons, and the styling link value and styling link name say which slot each style takes in that group. The mechanism is older than typographic family names and narrower: four slots, no more. You set these fields in TransType when a family has to behave correctly in applications that still drive style selection from those buttons.
subsetting	cutting down a font	criação de subconjunto	proposed	Glyphs 3 (pt-BR) and Font Book use subconjunto; fallback translated.	Subsetting exports only part of a font, such as the glyphs a page uses or one codepage, to make a smaller file. The OS/2 embedding bits can forbid it.
top sidebearing		espaço superior	proposed	No attestation; built on the espaço lateral family.	The space above the glyph outline within its vertical advance. This value participates in vertical text spacing rather than horizontal spacing.
tracking	uniform letter spacing	tracking	proposed	Professional loan: InDesign pt-BR titles the topic Kerning e tracking. The corpus pick rastreamento is the surveillance sense.	Tracking changes the spacing across a run of text, rather than correcting particular pairs as kerning does. Layout applications apply it to text. TransType's Tracking filter changes spacing in the font data itself. That changes the font's starting metrics; a layout application can still apply additional tracking to text set in the resulting font.
TrueType instruction	pixel fitting instruction	instrução TrueType	proposed	Glyphs 3 (pt-BR): instruções TrueType.	A TrueType instruction is one step of the program a TrueType font runs to fit an outline to the pixel grid. Instructions are the TrueType form of hints. FontLab writes them from visual TrueType hints and can keep the ones a font already has. Say instruction for the code and hint for what the reader draws.
typographic family name		nome de família tipográfica	proposed	No attestation; translated literally.	The typographic family name, TFN, is the name that groups every style of a family under one entry, and the typographic style name, TSN, is what distinguishes a style inside it. They sit beside the older four style family and style names that legacy applications read. You set them in TransType and in Font Info, and you keep them consistent across a family, because an app that reads these fields builds its font menu from them.
update metrics		atualizar métricas	proposed	Glyphs 3 (pt-BR) pattern: Atualizar largura, Atualizar LSB.	Recalculate glyph spacing values from their links or expressions. This command updates the advance widths and sidebearings that depend on those relationships.
variable font		fonte variável	proposed	Glyphs 3 (pt-BR): fonte variável. InDesign's fonte de variável is a slip.	A variable font contains data for design variation along one or more axes. Applications select axis values and calculate the corresponding outlines and other variable data. Named instances identify selected locations, but users are not limited to those locations when the application exposes axis controls. A variable font's supported range depends on its data; it need not contain every style in the family.
variation location	position in the variation range	posição	proposed	No firm attestation; follows the reviewed languages (position). Glyphs 3 says locais de eixo.	A variation location is a point in the design space, given as one value per axis. Masters and instances each have one, and the Variations panel slider shows the current one.
vertical advance	glyph box height	avanço vertical	proposed	No attestation; derived from avanço.	The vertical advance is the distance a glyph advances in vertical text, the counterpart of advance width for East Asian layout. Stored in vmtx.
vertical metrics		métricas verticais	proposed	Glyphs 3 (pt-BR): Métricas verticais.	The font-wide vertical values used for line layout, including ascender, descender and line gap. FontLab groups these as dimensions, distinct from glyph spacing metrics.
visual kerning	shape-measured spacing correction	kerning visual	proposed	Derived from kerning.	Visual kerning is kerning that FontLab proposes by measuring the shapes, so that a font gets a usable first pass without a person typing thousands of values. You run it over a selection, then review what it produced, because a measurement of two outlines does not know about the words a reader will meet. Treat the result as a draft: keep the pairs it got right, correct the ones it did not, and kern the difficult pairs by eye in real words.
weight axis	thickness axis	peso	proposed	Axis name as shown in the interface, as in the reviewed languages; Bringhurst, Elementos do estilo tipográfico (BR) and Glyphs 3 (pt-BR) use peso.	The weight axis, tag wght, varies stroke thickness from light to bold. In a variable font it is the most common axis; its master locations use the usWeightClass scale, such as 400 for Regular and 700 for Bold.
weight class		classe de peso	proposed	Glyphs 3 (pt-BR): Classe de peso.	The weight class is the OS/2 value from 100 to 900 that tells applications how heavy a style is, with 400 for Regular and 700 for Bold. Style linking and menus rely on it.
width axis	narrow-to-wide axis	largura	proposed	Axis name as shown in the interface; Bringhurst, Elementos do estilo tipográfico (BR) and Glyphs 3 (pt-BR) use largura.	The width axis, tag wdth, varies letter proportions from condensed to extended. It is distinct from advance width, which is the spacing of one glyph, and from the geometric width of a shape. Its scale is a percentage of normal width.
width class		classe de largura	proposed	Glyphs 3 (pt-BR): Classe de largura.	The width class is the OS/2 value from 1, ultra condensed, to 9, ultra expanded, that tells applications how wide a style is. It is a classification, not the width axis value and not the advance width.

OpenType

English	Fallback	Portuguese (Brazil)	Status	Note	Definition
Adobe Glyph List		Adobe Glyph List	do-not-translate		The Adobe Glyph List maps standard glyph names to Unicode codepoints, so that a glyph named aacute is understood as U plus 00E1 by any tool that follows it. You name glyphs by it wherever it covers the character, because tools and text engines can then infer the mapping without being told twice. Where it does not cover a glyph, you fall back to a consistent scheme of your own and assign codepoints explicitly. Write the name in full on first mention, then AGL.
alternate glyph	glyph variant	glifo alternativo	proposed	InDesign pt-BR (glifos alternativos); derived from glifo and alternativa.	An alternate glyph is another form of the same character, selected through an OpenType feature such as salt or a stylistic set. Its name usually carries a suffix, as in a.alt or g.ss01.
cmap		cmap	do-not-translate		The cmap table maps character codes to glyph indices. Its Unicode subtables provide the initial mapping used in text rendering; other subtables support particular encodings or variation sequences. FontLab generates these mappings from the project's encoding data. A glyph without its own Unicode assignment can still appear in typed text through substitution, such as a ligature or alternate selected by the shaping engine.
code page	legacy character table	página de códigos	proposed	Microsoft Windows pt-BR glossary: página de códigos.	A code page is a numbered legacy encoding, such as Windows 1250 for Central European languages, that maps one byte to one character. The OS/2 table lists the code pages a font supports, and FontLab derives that list from the glyphs present. Write two words.
color font table		tabela de fonte colorida	proposed	No attestation; translated literally. Tabela is the pt-BR word for a font table.	Colour-font tables store data for colour glyph rendering. Formats include COLR with CPAL, SVG, sbix, and CBDT with CBLC. They differ in how they describe vector or bitmap content and in application support. Including several formats can extend coverage, but does not guarantee rendering in every application. Identify the exported formats and test the intended targets.
contextual alternates	context-dependent variants	alternativas contextuais	proposed	Apple CoreText and InDesign pt-BR: Alternativas contextuais.	Contextual alternates, the calt feature, cover substitutions an app makes because of what sits around a glyph rather than because a reader asked. In a script face the text engine replaces an entry stroke after a letter that already ends in one, and in a face with repeating shapes it replaces the second of a pair. You write the rules with context in feature code, and apps usually leave calt on by default, which makes it the feature most likely to surprise you when a rule is too broad.
cursive attachment	joined-script connection	ancoragem cursiva	proposed	No attestation; built with ancoragem to pair with ancoragem de marcas, since both are made from âncoras.	Cursive attachment joins glyphs by matching an exit anchor of one glyph to the entry anchor of the next, so connected scripts such as Arabic and Nastaliq flow. It is the curs feature, built from anchors.
design languages		idiomas-alvo	proposed	No attestation; follows the reviewed languages (target languages). Font Book pt-BR uses idioma for language.	Design languages, the meta table dlng record, list the languages the typeface was designed for. Supported languages, slng, list every language it can set. Both are language tags, not feature tags.
encoding		codificação	proposed	Apple, InDesign, FontForge and Bringhurst (BR): codificação.	An encoding maps character codes to glyphs. Unicode is the encoding modern fonts use; legacy encodings such as Mac Roman or a code page map one byte to one glyph. FontLab shows the font in a chosen encoding in the Font window and writes the cmap from it. Say encoding for the mapping and code page for a numbered legacy table.
feature code	layout rule code	código de recursos	proposed	Glyphs 3 (pt-BR): código do recurso; derived from recurso.	Feature code is the text syntax that describes OpenType features: classes, lookups, substitution and positioning rules, grouped into features by tag. It is usually called FEA, after the file extension. You edit it in the Features panel, compile it to check for errors, and keep it under the same review as the drawings, since a rule that fires on the wrong glyph is as visible as a wrong outline. FontLab compiles it into GSUB and GPOS at export.
fractions		frações	proposed	Apple CoreText and InDesign pt-BR: Frações.	Fractions are numerical forms such as ½. In OpenType, the frac feature supports diagonal fraction composition through glyph substitution. A font may provide precomposed fraction glyphs, numerator and denominator forms, or both. The separate numr and dnom features provide numerator and denominator forms. Do not substitute the sups and subs feature names for these mechanisms or promise support for every input sequence without testing it.
glyph index	glyph number	índice do glifo	proposed	No attestation; translated literally.	A glyph index is the number a glyph occupies in the font's own order, counting from zero. Text engines work in indices after the cmap has done its job, and binary tables reference glyphs by index rather than by name. You rarely set one by hand, but you meet it when you inspect a compiled font or debug a lookup that fires on the wrong glyph. The index depends on glyph order, so it changes when the order does.
glyph name		nome do glifo	proposed	Glyphs 3 (pt-BR): Nome do glifo.	A glyph name identifies a glyph in an editing project, feature code or a tool's data. Names such as a, a.sc and a.alt can distinguish related drawings. They are separate from Unicode assignments and glyph indices, and need not survive in every exported format. After renaming a glyph, check references in feature code, classes and scripts, including references the editor cannot update automatically.
GPOS		GPOS	do-not-translate		GPOS is the OpenType table that holds positioning: kerning, mark attachment, cursive attachment, and any rule that moves a glyph without replacing it. FontLab writes your kerning here, as pairs and as class based positioning, and builds the mark lookups from your anchors. You reach it through feature code rather than by editing the table. A font may also carry a legacy kern table; modern text engines read GPOS and many ignore the other.
GSUB		GSUB	do-not-translate		GSUB is the OpenType table containing glyph-substitution lookups. It supports operations such as replacing a glyph with an alternate, forming a ligature or selecting a form from its context. FontLab compiles feature code into these structures. To diagnose a missing substitution, check the glyphs, compiled rules, feature selection, language and shaping order in the target application.
ligature	joined letters	ligatura	proposed	Bringhurst, Elementos do estilo tipográfico (BR), Glyphs 3 (pt-BR) and Plau use ligatura; Apple's ligadura is the less common form among Brazilian typographers.	A ligature is a glyph used to represent a sequence of characters, such as fi. OpenType substitution can replace several glyphs with one ligature glyph. The liga and dlig features distinguish standard and discretionary ligatures. Shaping does not change the underlying text; whether a later document export preserves searchable text also depends on that export and its text mappings.
localized forms	language-specific variants	formas localizadas	proposed	InDesign and Krita pt-BR: Formas localizadas.	Localized forms are glyph variants selected for a text run's language. The OpenType locl feature can provide these substitutions, for example Bulgarian forms of Cyrillic letters. The shaping engine needs the relevant language information, which the application may obtain from a setting or other context. The substitution changes glyph selection, not the underlying characters or their codepoints.
lookup	procedure	procedimento	approved	User/team procedure fallback. No sufficiently strong established OpenType-specific alternative verified in the reviewed primary sources. Keep the approved contextual Rules panel title. Preserve literal FEA lookup/lookupflag keywords, identifiers and OpenType structure names. Ordinary search senses are separate.	A lookup groups substitution or positioning rules of one type in GSUB or GPOS. Features reference lookups, and several features can share one. The shaping engine selects features and may process them in script-specific stages; within a stage, LookupList order matters. Source-code order alone does not describe the complete shaping sequence. Inspect the compiled tables and the target engine when diagnosing ordering problems.
mark glyph	combining mark glyph	glifo de marca	proposed	No attestation; derived from marca and glifo.	A mark glyph is an accent or other combining mark that attaches to a base glyph through anchors. The GDEF table classes it as a mark so shaping engines position it rather than advancing past it.
nonspacing mark	zero-width combining mark	marca sem avanço	proposed	No attestation; derived from marca and avanço.	A nonspacing mark is the Unicode general category Mn: a combining mark with zero advance, such as a combining acute. It differs from FontLab's nonspacing element, which is a property of an element inside a glyph.
oldstyle figures	lowercase-style figures	algarismos de texto	proposed	Bringhurst, Elementos do estilo tipográfico (BR) and Glyphs 3 (pt-BR): algarismos de texto. Apple's números em estilo antigo is a calque.	Oldstyle figures are numerals with varying heights, often including forms with ascenders and descenders. The OpenType onum feature selects them when provided by the font. Figure height and figure width are separate choices: oldstyle figures can be proportional or tabular. Use tabular widths when numerals must align in columns, whether their forms are oldstyle or lining.
OpenType class	layout glyph group	classe OpenType	proposed	Derived from classe (Glyphs 3).	An OpenType class is a named group of glyphs that feature code can address at once, written with an at sign before the name. One rule over two classes replaces a page of single rules, and one edit to a class reaches every rule that cites it. You define classes in the Classes panel or in feature code, and you keep their order stable, because a substitution between two classes pairs them by position. Kerning classes are a separate mechanism with the same idea.
OpenType feature	layout feature	recurso OpenType	proposed	InDesign pt-BR: Recurso OpenType.	An OpenType feature identifies typographic behaviour through a four-character tag, such as liga, smcp or ss01. Feature records reference substitution or positioning lookups. In FontLab, you can write feature code and compile it into the font. Whether and when a feature is applied depends on the shaping engine, script, language and application settings; not every feature is a user-controlled switch.
OS/2 table		tabela OS/2	proposed	Tag kept, noun translated.	The OS/2 table carries the font's metadata for applications: vertical metrics, weight and width classes, embedding permissions, the panose values, and the codepage and Unicode range bits that say what the font covers. You fill it from Font Info rather than by hand, and you check it before release, because a wrong weight class puts a font in the wrong slot in a menu and wrong vertical metrics change line spacing in every browser. Write it with the slash: OS/2.
Private Use Area		Private Use Area	do-not-translate		A private-use area is one of three Unicode blocks whose codepoints can receive meanings by private agreement. Different fonts or systems may assign different meanings to the same private-use codepoint. Use a documented agreement when encoding custom symbols there. An alternate glyph reached through a feature does not require its own private-use assignment.
single substitution		substituição simples	proposed	No attestation; translated literally, as Spanish and French.	A single substitution replaces one glyph with one other glyph, the simplest GSUB lookup type. Small caps, stylistic alternates and localized forms are mostly built from it.
small caps	small capitals	versalete	proposed	Bringhurst, Elementos do estilo tipográfico (BR), Apple, InDesign and Glyphs 3 (pt-BR): versalete.	Small caps are capital shapes drawn at roughly lowercase height, with their own weight and width rather than scaled capitals. Apps apply the smcp feature to put them in place of lowercase letters, and c2sc to put them in place of capitals, so a run set in both features becomes uniform. You draw them as separate glyphs, usually with a dot sc suffix, and write both features. Scaled capitals look thin beside real text, which is the reason to draw them rather than let an app fake them.
stylistic set		conjunto estilístico	proposed	Microsoft Word and InDesign pt-BR: conjunto estilístico.	A stylistic set is a numbered group of alternate glyphs a reader can switch on, from ss01 through ss20. Each set holds alternates that belong together: a single storey a with a matching g, a set of flat topped figures. You name each set in the font so an app can show a readable label instead of a number, and you keep one idea per set. A set that mixes unrelated alternates gives a reader nothing they can decide about.
tabular figures	equal-width figures	algarismos tabulares	proposed	Glyphs 3 (pt-BR) (Algarismos de texto tabulares) and InDesign pt-BR.	Tabular figures all carry the same advance width, so columns of numbers line up whatever digits they contain. Apps apply the tnum feature to put them in place of proportional figures. You draw them as a separate set and give every one the same width, centring the narrow digits inside it. They matter in any table, price list, or running total, and they look loose in prose, which is why a font offers both sets rather than choosing for the reader.
Unicode codepoint	character code	ponto de código Unicode	proposed	Standard Portuguese Unicode terminology (ponto de código); Glyphs 3 just says Unicode.	A Unicode codepoint is an integer from U+0000 to U+10FFFF. Not every codepoint has an assigned character. Write it with U+ and at least four hexadecimal digits, as in U+0041 for A. In a font editor, a glyph's Unicode assignment connects it to an encoded character; the exported cmap records the relevant mapping.
variation selector	variant picker character	seletor de variação	proposed	Standard Portuguese Unicode term.	A variation selector is a Unicode character that follows a base character to request a specific glyph form. The pair is a variation sequence, mapped in the cmap format 14 subtable; a default mapping points at the base glyph.
writing system		sistema de escrita	proposed	Microsoft and Qt pt-BR: sistema de escrita.	A writing system is the set of characters and rules a language writes with, such as Latin, Cyrillic or Arabic. OpenType calls it a script and identifies it by a four letter tag. Say writing system in prose and script tag for the identifier, so the reader does not confuse it with a Python script.

File formats

English	Fallback	Portuguese (Brazil)	Status	Note	Definition
AI file		AI file	do-not-translate		An AI file is an Adobe Illustrator document, and it is the container the Vexy Illustrator plug-ins work inside. It holds paths, strokes, fills, appearances, and the live effects that a plug-in adds. You do not export an AI file from the plug-ins; you work in one. Write it as an AI file or an Illustrator document, never as an ai, and name Adobe Illustrator in full on first mention in the same document.
AIP		AIP	do-not-translate		An AIP file is an Adobe Illustrator plug-in binary, and it is how Vexy Linestra and Vexy Vextra reach Illustrator. The filenames close up the product name, VexyLinestra.aip and VexyVextra.aip, while prose keeps the space. You copy the file into the Illustrator plug-ins folder, whose name the operating system may show translated, and restart Illustrator so it loads. Name the file exactly as it ships, since a renamed plug-in does not load.
FLREQ		FLREQ	do-not-translate		An FLREQ file is a licence request the application writes when a machine cannot reach the licensing service, and an FLLIC file is the response that activates it. You send the request from the machine that needs the licence, receive the response, and open it there. The pair exists for machines that stay offline, so name both files in a procedure that uses either, and say which machine each step happens on.
Fog.net		Fog.net	do-not-translate		Fog.net is Fontographer's project data format, and fognet is the Python module that reads and writes it from a script. A project file carries the extension .fog. You meet the format when you script against a project or move one between machines, rather than in ordinary editing, where the dashboard handles saving. The module name is lowercase, as Python module names are, and it goes in code font wherever it appears in prose.
Glyphs file		Glyphs file	do-not-translate		A Glyphs file is the source format of the Glyphs editor, and FontLab reads and writes it so that a project can move between the two. It holds masters, glyphs, metrics, and features in one text file. You use it when a collaborator works in the other editor, and you check the result after the trip, because two editors model masters and components in ways that do not correspond exactly. Write it as a Glyphs file, not as a glyphs.
Lines file		Lines file	do-not-translate		A Lines file is the native document of Vexy Lines, holding the source image, the fills applied to it, and the settings that produced the result. You save to it while you work and export vector artwork when you are finished, because the export keeps the result and not the recipe. Write it as a Lines file with a capital L when you name the format, and as the extension in lowercase with a dot when you mean the file suffix.
OTF		OTF	do-not-translate		OTF is the usual filename extension for an OpenType font with PostScript outlines. These use cubic curves stored in CFF or CFF2 data. State the outline flavour when it matters: OpenType fonts with TrueType outlines also support OpenType layout features. The .otf extension alone does not establish which features, colour formats or variation capabilities a font contains.
SVG		SVG	do-not-translate		SVG is the vector graphics format, and it names two different things in this documentation: a graphic file that a drawing tool exports, and the SVG table inside a colour font. Say which you mean. You export SVG artwork from the Vexy products, and you meet the SVG table when you build a colour font in FontLab. A sentence that says SVG support without saying which one leaves a reader to guess.
TTC		TTC	do-not-translate		TTC is the usual filename extension for a TrueType font collection: several fonts stored in one file. Collection members can share tables, reducing duplication where their data is identical. A collection is a packaging format, not an interpolation model. Distinguish its individual fonts from named instances within a variable font.
TTF		TTF	do-not-translate		TTF is the usual filename extension for a font with TrueType outlines, which use quadratic curves. An OpenType TTF can contain layout features and variation data. Exporting cubic source outlines to this flavour requires curve conversion, which can change the point structure and approximate the original geometry. Check the exported outlines at the intended sizes.
Type 1		Type 1	do-not-translate		Type 1 is an older PostScript outline-font format. It remains relevant when opening archived fonts or explaining conversion workflows. Support depends on the application and version, so identify the target when discussing compatibility. Converting a Type 1 font to OpenType does not automatically supply missing Unicode mappings or new layout features.
UFO		UFO	do-not-translate		UFO, Unified Font Object, is an open source-font format. UFO 3 stores glyph layers, font information, kerning, groups and optional feature code in a directory package or ZIP archive. It also allows images and application-specific data. Interchange depends on what both applications support; a UFO export does not by itself guarantee that every editor-specific property survives.
VFB		VFB	do-not-translate		VFB is the native source format of FontLab Studio 5. FontLab 8 can open and export it, but the format cannot represent every feature of a FontLab 8 project. Use VFC or VFJ for ongoing work in FontLab 8. Name VFB when explaining migration or an exchange workflow that requires the older format, and check the exported result for unsupported data.
VFC		VFC	do-not-translate		VFC is FontLab's native binary format, and the one you work in. It holds everything the editor knows: masters, elements, references, anchors, kerning, features, and the project settings that no font format carries. You save to it while you design and export to OTF or TTF when you ship. Write the format in capitals when you name it and in lowercase with a dot when you mean the extension. Its sibling VFJ stores the same content as text.
VFJ		VFJ	do-not-translate		VFJ is FontLab's JSON source format. It provides a text representation of a FontLab project for workflows that need readable or scriptable data. Use it as a source format, not an installable font. When exchanging files between FontLab versions or external tools, check that the receiving tool supports the data the project uses.
WOFF2		WOFF2	do-not-translate		WOFF2 is a compressed font format for web delivery. Its encoding uses font-specific transformations and Brotli compression. Export it for web use and test the resulting font in the target browsers. The size saving depends on the source font and its contents; do not promise a fixed reduction or infer available features from the extension.

Interface

English	Fallback	Portuguese (Brazil)	Status	Note	Definition
action		ação	proposed	Apple, Adobe and Microsoft pt-BR all use ação.	An action is an operation you can invoke in the application. An action label names the operation; help explains its effect.
add		adicionar	proposed	Standard pt-BR command in Glyphs 3, Apple and Adobe (Adicionar âncora, Adicionar mestra).	Add inserts another item into the current collection or selection. Name the item when the surrounding control does not make it clear.
alternate		alternativa	proposed	Glyphs 3 (pt-BR) (Alternativa) and Apple CoreText (Alternativas). Rejected variante, which Portuguese type literature does not use for OpenType alternates.	An alternate is a different glyph form for the same character or purpose. The context determines how you select or substitute that form.
anchor cloud	attachment point cloud	nuvem de âncoras	proposed	No attestation; fallback translated from the chosen noun âncora.	The anchor cloud previews the marks that attach to an anchor by showing them faintly around the glyph in the Glyph window. It checks mark positioning without leaving the base glyph.
auto layer	recipe-built layer	camada automática	proposed	No attestation; fallback translated from camada.	An auto layer builds a glyph from a recipe, such as A plus acute, and rebuilds it when the parts change. Turn auto off to edit the glyph by hand.
autohint		autohint	proposed	Glyphs 3 (pt-BR) keeps autohint for the command (o autohint do glifo); the process is autohinting.	Autohint is the command to generate hints automatically. Use autohinting when naming the process rather than the command.
Brush		Pincel	proposed	Illustrator and Apple pt-BR: Pincel; the real tool's name.	The Brush tool draws a stroke freehand, and what the stroke becomes differs by product. In FontLab and Fontographer the Brush keeps the path you drew as a centreline and generates the thick outline from it, so the drawing stays editable until you expand it into ordinary contours. In Vexy Lines the Brush paints masks by hand, and a mask decides where a layer's fills can draw rather than being artwork itself. Name the application in any sentence where a reader could take one tool for the other.
collapse		contrair	proposed	Apple pt-BR uses contrair; it also describes nodes drawn to one point, which recolher (fold a panel) does not.	Collapse aligns the selected nodes to one point. In the Contour tool it aligns both coordinates; in the Metrics tool only the horizontal one. It moves nodes; it does not merge them.
color flag	color mark	etiqueta de cor	proposed	Glyphs 3 (pt-BR) calls the same glyph annotation etiqueta (Cor da etiqueta); marca de cor is rejected because marca is the mark glyph.	A color flag is a color you assign to a glyph cell, a kerning pair or a class to mark it for later. Flags are annotations for the designer and are not exported.
corner angles		ângulos dos cantos	proposed	Glyphs 3 (pt-BR) calls a corner canto; no attestation of the compound.	The angles at contour vertices. These geometric measurements describe how adjacent segments meet at a corner and can be displayed on the canvas.
cousins	related glyphs alongside	primos	proposed	House-voice name rendered with the plain Portuguese word for cousins, as Polish kuzynostwo.	Cousins are related glyphs or other masters that FontLab shows faintly around the current glyph in the Glyph window, so you can compare shapes and spacing while you edit. The name is FontLab's, rendered in each language's house voice.
crop		recortar	proposed	Apple Photos and Adobe pt-BR: recortar.	Crop trims an image or drawing to a chosen area. The command label names the operation; its context identifies the object being cropped.
cubic		cúbico	proposed	Standard mathematical adjective (curva cúbica); Blender and Motion pt-BR.	A cubic Bézier segment is a curve defined by two endpoints and two control points. Cubic describes the degree of the curve, not its physical dimensions.
current		atual	proposed	Apple, Adobe and Glyphs 3 pt-BR (mestra atual); actual is European spelling.	Current identifies the item or state active at the time of an operation. Name the item, such as the current layer, when the context is ambiguous.
cusp		cúspide	proposed	Geometric term used by Inkscape and CorelDRAW pt-BR for a cusp node.	A cusp is a sharp point where a curve changes direction abruptly. Keep it distinct from a smooth join.
decompose	break into contours	decompor	proposed	Glyphs 3 (pt-BR): Decompor componentes.	Decompose replaces components with copies of their contours, so the glyph no longer follows its source glyphs. Use it before edits that a component cannot carry, or before export to a format without composites.
default		padrão	proposed	Apple, Adobe and Microsoft pt-BR: padrão; predefinição is European.	A default is the value or choice used when no explicit alternative has been selected. It need not be the currently selected value.
demo mode		modo demo	proposed	Common Brazilian software usage; shorter than modo de demonstração.	Demo mode is how FontLab runs without a license: everything works except saving, exporting and printing.
dialog		caixa de diálogo	proposed	Microsoft and Adobe pt-BR: caixa de diálogo.	A dialog presents information, settings or a question for a particular interaction. A modal dialog restricts interaction with its parent until it is dismissed; a modeless dialog does not. Use the application's established name and reproduce its button labels exactly. If a procedure opens a dialog, explain the relevant choices and how to apply or cancel them.
Dream Up	generate shapes	bolar	proposed	House-voice name: bolar is the informal Brazilian verb for thinking something up. Rejected inventar (flat) and gerar formas (a description).	Dream Up is a Fontographer command for generating glyph shapes. Dream Up Font generates a whole font; Mixfont blends existing fonts. Keep these commands distinct and show any confirmed cost before the reader runs an operation. Generated shapes may need further editing.
echo text	repeated text	repetir texto	proposed	No attestation; fallback translated, as in the four reviewed languages.	Echo text makes a preview repeat the text of the current window, so the Preview panel or the TrueType hinting preview shows the same string you are editing.
Eraser		Borracha	proposed	Illustrator and Apple pt-BR: Borracha; the real tool's name.	The Eraser removes or simplifies points on a contour. In FontLab, its modes remove nodes and handles, select points for removal, or simplify a path. In Vexy Vextra, normal Eraser removes covered points; Soft Eraser removes a node only when a replacement curve is close enough to the original. That does not guarantee an identical outline. In Fontographer, Eraser shares a grouped toolbar button with Trowel. Name the application and mode when describing an operation.
expand filter	bake filter into contours	expandir filtro	proposed	Expandir is the established Illustrator pt-BR verb for turning a live appearance into plain paths.	Expand filter bakes a live element filter, such as Smart Corners, Skin or a boolean Fusion, into plain contours. The filter parameters are no longer editable afterwards.
expand stroke	bake stroke into contours	expandir traço	proposed	Glyphs 3 (pt-BR) has Expandir traço; expandir is also Illustrator's verb.	Expand stroke converts a stroked centerline, or a brush applied to a contour, into plain filled contours. The live stroke or brush is gone afterwards and the result can be edited node by node.
expand transformation	bake transformation into contours	expandir transformação	proposed	No attestation; keeps the expandir family.	Expand transformation writes an element's live transformation, such as scaling or rotation, into the node coordinates. The element then has an identity transformation and its contours carry the geometry directly.
feature		recurso	proposed	Glyphs 3 (pt-BR) (Recursos) and InDesign (Recurso OpenType). FontForge's função is rejected.	A feature in OpenType editing identifies typographic behavior implemented by substitution or positioning lookups. Feature tags are literal identifiers and remain unchanged in translation.
Fills		Preenchimentos	proposed	InDesign and Illustrator pt-BR: preenchimento.	In FontLab, the Fill tool sets enclosed regions as filled or unfilled by changing contour direction or applying a live Fill filter. In Vexy Lines, Linestra and Playlines, a fill mode is a method for generating artwork from an image, such as Halftone or Stipple. Name the application and distinguish the tool, the filled region and the generative mode.
FontAudit		FontAudit	do-not-translate		FontAudit is the FontLab panel that inspects outlines and reports the problems a proof will show later: unclosed contours, wrong winding directions, missing extreme nodes, near vertical segments, and the like. You run it over a glyph or a selection, read the findings, and fix what matters for the design rather than clearing every warning. In English write the FontAudit panel on first mention. Localized UI may transliterate the name into its writing system; keep the name distinct from a generic audit command. Preserve FontAudit in code and identifiers.
FontLab account		conta FontLab	proposed	Translate the common noun account and inflect it in complete sentences; preserve the FontLab brand. German, Spanish and French wording is already used in current FontLab UI. Other language forms are proposals. Do not duplicate account when the surrounding sentence already translates it.	A FontLab account is the identity used to sign in to FontLab services and manage licences. Keep the capital L in FontLab and lowercase account in English. Translate the common noun account while preserving the FontLab name. Distinguish the account from a licence, subscription or payment when more than one appears in the same explanation.
Fusion	Welder	Soldador	proposed	User decision 2026-10-04: translate the fallback Welder, the named live boolean group filter. Polish Spawacz is explicit; other renderings are proposals. Preserve Fusion in code identifiers.	Fusion is FontLab's live boolean filter on an element group: add, subtract, intersect or exclude the overlapping contours while the parts stay editable. Intersect keeps only the overlap; expand the filter to bake the result.
Genius node	self-balancing node	nó gênio	proposed	House-voice name: gênio is the plain Brazilian word, so the English is not kept. The reviewed languages kept Genius; a reviewer may prefer nó Genius.	A Genius node keeps its curves smooth and balanced automatically when neighbours move; FontLab adjusts its handles for you. A Follower node follows key nodes under Power Nudge. Both are FontLab names, rendered in each language's house voice.
grid		grade	proposed	Apple and Adobe pt-BR: grade. Glyphs 3 has grelha, which is European.	A grid is a set of regularly spaced reference lines or points used to position drawing objects. Keep it distinct from a mesh used for deformation.
Groups		Grupos	proposed	Glyphs 3 (pt-BR) (Grupos de kerning), Apple and InDesign.	A group collects several things and treats them as one, and the things differ by product. In FontLab the word most often means a kerning group, the set of glyphs that kern alike, which the documentation also calls a kerning class. In Vexy Vextra, following Illustrator, a group is selected artwork bound into one object. In Vexy Lines a group bundles layers and carries its own source image, working like a folder. TransType adds a styling group that ties a family's styles into a menu. Say which you mean.
guide		guia	proposed	Glyphs 3 (pt-BR) and InDesign pt-BR: guia, feminine (a guia).	A guide is a reference line used to position or align drawing objects. Its name describes its role rather than a visible stroke in the exported glyph.
kerning mode		modo de kerning	proposed	No attestation; derived from kerning.	The editing mode for adjusting spacing between pairs of glyphs. It changes pair adjustments rather than the individual glyph sidebearings.
Knife		Faca	proposed	Illustrator pt-BR: Faca; the real tool's name.	The Knife tool works along a line you drag across a shape, and what it leaves behind differs by product and by sub-tool. In FontLab it adds nodes where the line crosses a contour, breaks a closed contour into open paths, or slices one contour into two closed shapes, depending on which of its three sub-tools is active. In Fontographer it cuts through contours along the drawn path. In Vexy Lines it inserts points and splits curves. Say which app, which mode, and what the cut leaves.
layer		camada	proposed	Glyphs 3 (pt-BR) and Adobe pt-BR: camada.	A layer holds one drawing or part of a document. In FontLab, the context identifies the glyph layer; name the application when another product uses a different layer model.
Layers		Camadas	proposed	Glyphs 3 (pt-BR) and Adobe pt-BR: Camadas.	Layers hold the separate drawings a glyph or a document carries at once. In FontLab a glyph layer holds one master, a mask, or a background, and you manage them in the Layers and Masters panel, where switching layers switches which drawing you edit. In Vexy Lines a layer is a transparent sheet holding one or more fills, and it is the basic unit of a document, since artwork needs at least one. The two meanings sit close enough to be mistaken, so a sentence about layers names the application.
mark		marca	proposed	FontForge pt: marca. Glyphs 3 has acento, which is too narrow for marks that are not accents.	A mark in glyph positioning is a diacritical glyph positioned in relation to another glyph. A color mark or selection mark is a different interface meaning.
Masks		Máscaras	proposed	Glyphs 3 (pt-BR) (Máscara) and Adobe pt-BR.	A mask holds a second drawing, and what it does with that drawing differs by product. In FontLab a mask is a glyph layer carrying a previous version or a reference shape, so you can compare the live outline against it and copy between them; it hides nothing. In Vexy Lines a mask is a vector stencil that decides where a layer's fills can draw, letting the fill through its transparent areas and holding it back elsewhere. Name the application, and in FontLab prefer the full phrase mask layer.
match		casar	proposed	House voice: casar is the plain Brazilian verb for making things match (as in casamento de padrões) and ties in with Casamenteiro. Corresponder is the neutral alternative.	Match makes selected properties correspond. The object and context determine whether this means synchronizing edits, matching geometry or comparing values.
matching		que casam	proposed	Derived from casar, as Spanish que casan. Correspondente is the neutral alternative.	Matching describes objects or properties that correspond. Name the matched property when the interface context does not identify it.
Matchmaker	master matcher	Casamenteiro	proposed	House-voice name: the plain word for a matchmaker, as Spanish Casamentero and Polish Swatka.	Matchmaker is a FontLab tool for examining and correcting correspondence between glyph masters. It helps align contour order and start points for interpolation. Matching structures does not guarantee that intermediate outlines look right. Inspect the resulting interpolation; changing contour order or a start point can change correspondence without changing the outline's geometry at the master location.
measurement line		linha de medição	proposed	No attestation; derived from medida/medição and kept apart from métricas.	A line that shows a measured distance in the drawing. Distinguish this geometric measurement from a metrics line used to calculate sidebearings.
measurements		medidas	proposed	No attestation; canvas measurements, kept distinct from métricas (spacing).	Values displayed on the canvas to describe geometry, such as coordinates, lengths, angles, tensions and counters. Showing measurements does not modify glyph spacing or font dimensions.
Measurements panel		Medidas	proposed	No attestation; panel name kept as short as the English and distinct from Métricas.	The Measurements panel lists measured dimensions of the current font: stems, serifs, overshoots, contrast and heights, separately for capitals and lowercase. Its labels are compact; translations must not exceed the English length.
merge		mesclar	proposed	Adobe and Microsoft pt-BR: mesclar.	Merge combines items into a result. Name the items and explain what is retained when that distinction matters to the operation.
mesh		malha	proposed	Illustrator and Photoshop pt-BR: malha.	A mesh is a network of connected points or cells used to describe or deform geometry. It is distinct from a drawing grid used for alignment.
metrics mode		modo de métricas	proposed	No attestation; derived from métricas.	The editing mode for adjusting glyph advance widths and sidebearings. It changes the spacing of glyphs rather than the vertical dimensions of the font or the visibility of measurements.
metrics table		tabela de métricas	proposed	No attestation; derived from métricas.	The table of glyph spacing values, including advance widths and sidebearings. It lets the user inspect or edit spacing values together.
metrics tool		ferramenta de métricas	proposed	No attestation; derived from métricas.	The tool that edits glyph advance widths and sidebearings. Use it to adjust glyph spacing; canvas measurement overlays display values without changing those spacing values.
monospaced		monoespaçado	proposed	Usual Brazilian adjective (fonte monoespaçada); Font Book's largura fixa is a different phrase.	Monospaced describes text or a typeface whose ordinary spacing glyphs have equal advance widths. Marks and special glyphs can have different spacing behavior.
multi-line		multilinha	proposed	InDesign pt-BR: multilinha.	Multi-line describes text or a control that contains more than one line. It does not imply more than one paragraph.
nonspacing	zero-width	sem avanço	proposed	No usable attestation (Glyphs 3 (pt-BR) has the broken Não espaço); fallback translated with avanço.	A nonspacing element or component is excluded from metrics: it stays visible and is exported, but FontLab ignores it when it computes the advance width and sidebearings. Detect nonspacing marks accents and other marks in composites automatically.
Nudge	push move	Empurrãozinho	proposed	House-voice name: dar um empurrãozinho is the Brazilian idiom for a nudge, parallel to Spanish Empujoncito; Glyphs 3 (pt-BR) uses empurrar nós. Blender's cutucar is a poke that does not move.	Nudge moves the selected nodes and adjusts the nearby handles so the curve keeps its shape. Power Nudge extends the move to more of the contour. Both are FontLab names.
Oblique		Oblíquo	proposed	Apple and InDesign pt-BR style name; fixed name for this operation.	Oblique is FontLab's action that slants a layer and applies a fixed set of optical corrections, so the result is closer to a designed oblique than a plain skew. Keep the name in every language; a plain slant is something else.
panel		painel	proposed	Apple and Adobe pt-BR: painel.	A panel groups related controls or information within an application's interface. It may be docked or floating, depending on the application. Use its displayed name followed by panel in lowercase, as in the Kerning panel. Distinguish panels, windows, dialogs and panes by their role and established product terminology, not solely by whether they float, dock or contain tabs.
Pencil		Lápis	proposed	Illustrator and Apple pt-BR: Lápis; the real tool's name.	The Pencil tool draws freehand, and what it draws on differs by product. In FontLab it converts a freehand gesture into curves and line segments without asking you to think about node types. In Fontographer it is one of three outline drawing tools, beside Pen and Rapid. In Vexy Lines it creates and edits Handmade fills as vector lines. In Vexy Vextra it is the Correcting Pencil, which redraws part of an existing path as readily as it starts a new one.
Power Brush	power calligraphic brush	Superpincel	proposed	House-voice name: super carries the cartoon-superhero wink of Power. Rejected potente and poderoso, which read as a rating.	A Power Brush is a brush whose width can vary along the contour through thickness points. It stays live until you expand it. The name is FontLab's, rendered in each language's house voice.
Power Guide	power guideline	Superguia	proposed	House-voice name, same super prefix as the other Power names.	A Power Guide is a guide that nodes can link to, so moving the guide moves the linked nodes with it. FontLab uses it to keep a stem or a height consistent across a glyph. Each language renders the name with the same playful power.
Power Nudge	power push move	Superempurrão	proposed	House-voice name: the super counterpart of Empurrãozinho.	Power Nudge distributes a move through a larger part of a contour by adjusting other nodes as well as the selected ones. FontLab and Vextra provide this editing mode. It differs from Nudge, which adjusts nearby handles. Power Nudge changes the geometry; inspect the result rather than promising an exactly preserved outline or a finished curve.
Power Stroke	power stroke outline	Supertraço	proposed	House-voice name, derived from traço. Inkscape's traço variável is a description.	A Power Stroke is a stroke whose thickness varies along the path, controlled by thickness points you place with the Thickness tool. The related Power Brush does the same for a brush. Both are FontLab names, rendered in each language's house voice.
project		projeto	approved	Team agreement recovered from Proteus QPH on 2026-10-04. Project names the editable document; do not replace it with package.	A FontLab project is the editable font document, including the active document in save/close prompts and the document saved to a VFJ/VFC file or project folder or connected to GitHub. Use the project term consistently in this UI. Do not call it a package. Python packages, UFO Packages, Glyphs Packages, and web-font distribution packages are different concepts and retain their format/software terminology. Internal package identifiers and file extensions are not translated.
property bar		barra de propriedades	proposed	Usual pt-BR software term (CorelDRAW).	The property bar is FontLab's context-sensitive strip of controls for the current tool or selection. Name the required selection or tool before referring to a control that appears only in that context. Use property bar for this product element; do not invent a universal rule that all toolbars have fixed contents.
quick measurement		medição rápida	proposed	No attestation; derived from medição.	The function that displays measurements near the pointer while editing outlines. It reports geometry on the canvas without changing the glyph spacing values.
redo		refazer	proposed	Platform command in macOS and Windows pt-BR.	Redo reapplies an operation that was undone. Repeat invokes an operation again and is a separate command.
reference		referência	proposed	Apple and Microsoft pt-BR: referência.	A reference points to another object rather than being an independent copy of it. Name the referenced object when the context does not identify it.
Remove Overlap	merge overlapping contours	remover sobreposição	proposed	Glyphs 3 (pt-BR): Remover sobreposição.	Remove Overlap combines overlapping filled contour regions and removes their internal boundaries. It changes contour structure, so keep an editable source when the construction matters. Variable fonts can contain overlaps; removing them independently from masters can break point correspondence and interpolation. Apply the command or export option for the intended format and workflow, rather than treating it as mandatory for every font.
repeat		repetir	proposed	Apple and Adobe pt-BR: repetir; distinct from refazer.	Repeat invokes an operation again. Keep it distinct from Redo, which restores an operation after Undo.
reverse contour	flip drawing direction	inverter sentido do contorno	proposed	Glyphs 3 (pt-BR) has reverter contorno, but reverter means to revert; inverter with sentido follows the reviewed languages.	Reverse contour flips the winding direction of a contour. PostScript and TrueType outlines use opposite conventions, and a contour that runs the wrong way fills or unfills the wrong region.
Scissors		Tesoura	proposed	Illustrator and Apple pt-BR: Tesoura; the real tool's name.	The Scissors tool works on the joins in a path, and what it does with them differs by product. In FontLab it disconnects nodes into overlapping contours, creates overlaps, adds simple ink traps, and builds looped corners, with a toolbox of sub-tools under the Q shortcut. In Fontographer it breaks contours at selected points or segments, the targeted counterpart to Knife. In Vexy Vextra it extends and rebuilds path parts, building loop corners and joining open ends.
Servant node	Follower node	nó seguidor	proposed	Follower node rendered as a node that follows movement, as Spanish nodo seguidor.	For localization, read the legacy English source label Servant node as Follower node: a follower physically following a leader. This node follows the movement of neighboring key nodes when you move them with Power Nudge, so a whole feature moves together. Translate the motion-following role; the servant and social fan/supporter metaphors are obsolete. The English term and servant-node identifier remain compatibility lookup keys.
Sigma		Sigma	do-not-translate		Sigma is the Fontographer tool for variable font interpolation paths, sitting in the toolbar beside Transform and Meter. You use it to work with how a design moves through its variation space rather than to edit a single outline. The name is a single capitalized word and it does not take the word tool inside its name: write the Sigma tool. It is a Fontographer term with no counterpart in the other products.
Sketchboard	scratch canvas	prancheta	proposed	House-voice name: prancheta is the everyday drawing board. Note that Illustrator pt-BR uses prancheta for artboard.	The Sketchboard is FontLab's unlimited canvas, a working surface where you can place glyphs, drawings, and reference images side by side outside the fixed frame of a glyph window. You use it to compare shapes, to sketch before committing, and to lay out material that has no single glyph to live in. The name is one word, capital S, and it is a FontLab term: no other product in the family has the surface or the word.
Skin	wrapping outline	casca	proposed	House-voice name: casca is the peel that wraps a fruit, as Polish skórka. Pele is the alternative; the loan skin means a software theme in Brazil.	Skin is a FontLab live filter that wraps a contour with a stroke of variable thickness, or cuts it into dashes. Expand the filter to get plain contours. Each language renders the name in the house voice.
smart	clever	esperto	proposed	House voice: esperto is the plain Brazilian word for clever with a hint of cunning. Never inteligente; astuto is too literary.	Smart prefixes FontLab features that decide details for you: Smart Corner, Smart Filter, Smart Pencil, Smart Link, smart fill. Usually translate the word as clever with a hint of cunning. Follow separately approved feature names: the Russian and Ukrainian Smart Filter terms are explicit exceptions.
Smart Corner	clever corner	canto esperto	proposed	Derived from esperto and canto (Glyphs 3 (pt-BR)).	A Smart Corner is a live treatment applied at a node, so a corner can be rounded, cut, or turned into an ink trap without the outline being redrawn. The treatment stays editable: change the value and the corner updates, and the underlying contour keeps its nodes. You apply it at the node rather than to the whole contour. FontLab groups it with Ink Traps among its live filters, and Vextra carries the same name.
Smart Filter		Filtro esperto	proposed	Named glyph-selection filter; not a graphical live effect. Match this term in the Font window, Aidus settings, dialogs and help.	A Smart Filter selects glyphs in the Font window using a saved condition. It filters the glyph list rather than changing outlines or applying graphical effects. Follow the language core for its name: Russian and Ukrainian have explicit feature-specific translations that differ from other Smart names.
spacing controls	side space handles	controles de espaçamento	proposed	No attestation; derived from espaçamento.	Spacing controls are the on canvas handles in the Metrics tool that let you drag sidebearings and advance widths directly in the text.
sticker		adesivo	proposed	The plain Brazilian word for a sticker; etiqueta is the color flag.	A sticker is a visual note you place on a glyph in FontLab, such as a checkmark or a comment, to mark work in progress. Stickers are annotations, not font data, and are not exported.
tab		aba	proposed	Glyphs 3 (pt-BR) and Font Book pt-BR: Nova aba. Tabulação is the tab character.	A tab selects one page or document within a set. A tab character in text is a different meaning and must retain its literal representation in code.
text element	text block	elemento de texto	proposed	Derived from elemento.	A text element is a live element that renders a string of text from another font inside a glyph. Expanding it converts the letters into contours; FontLab uses it for placeholders and quick layout tests.
thickness		espessura	proposed	Microsoft and Adobe pt-BR: espessura; kept apart from peso.	Thickness is the geometric distance across a stroke or shape. It is distinct from a typeface weight classification or weight axis.
Transform		transformar	proposed	Illustrator and InDesign pt-BR: Transformar.	Transform moves, scales, rotates, slants, or flips a selection. In FontLab the Transform panel applies a numeric transformation to glyphs, elements, or a selection, and it can run across a whole font. In Fontographer the Transform tool sits in the toolbar beside Meter and Sigma. In Vexy Lines the Transform tool manipulates artwork on the canvas. A panel, a tool, and a tool again: name the app and name the surface.
transformation		transformação	proposed	Standard pt-BR term in GIMP and Microsoft.	A transformation changes geometry, for example by moving, scaling, rotating or skewing it. Transform names the operation; transformation names the change.
True Fill	final black rendering	Preto no branco	proposed	House-voice name: the idiom means the plain truth set down, and the view shows the final black fill. The descriptive alternative is Preenchimento real.	True Fill is a Glyph window view that renders the glyph as it will fill when exported, honoring contour direction and overlaps, instead of the editing preview. Each language renders the name in the house voice.
uncheck		desmarcar	proposed	Apple and Microsoft pt-BR: desmarcar.	Uncheck clears a selected checkbox. The resulting behavior depends on the option controlled by that checkbox.
Vexy coins		Vexy coins	do-not-translate		Vexy coins are credits used to pay for applicable Fontographer operations. Keep Vexy capitalized and coins lowercase in English. The common noun may translate around the protected Vexy name. State a confirmed charge before the reader performs the operation, and distinguish the credit balance from money, a licence or an account.
waterfall	size ladder preview	cascata	proposed	Font Book pt-BR: Cascata.	A waterfall shows the same glyph or text at a series of sizes, one line per size, to judge spacing and rendering across sizes. The Preview panel and the TrueType hinting tool provide one.
weight		peso	proposed	Bringhurst, Elementos do estilo tipográfico (BR), Apple and Glyphs 3 (pt-BR): peso; espessura is the measured thickness.	Weight describes the relative heaviness of a typeface or a value on its weight axis. It is distinct from a measured stroke thickness.
whitespace		espaço em branco	proposed	InDesign and Microsoft pt-BR: espaço em branco.	Whitespace is text made up of spacing characters rather than visible letterforms. Preserve literal characters when they form part of code, keys or file content.

Vector drawing

English	Fallback	Portuguese (Brazil)	Status	Note	Definition
Appearance panel		painel Aparência	proposed	Illustrator pt-BR names the panel Aparência.	The Appearance panel is Illustrator's list of what is applied to the selected object: its fills, its strokes, and its live effects, in the order they stack. You send a reader there to confirm that a Vexy effect is present, to reorder it against a stroke, or to remove it. It belongs to Illustrator rather than to our products, so its name keeps Illustrator's capitalization and never takes a short form of our making.
autotrace	bitmap to outline conversion	vetorizar	proposed	Vetorizar is the everyday Brazilian design verb for tracing a bitmap into outlines; Inkscape's traçamento automático is rejected as a calque.	Autotrace converts a bitmap into vector paths by finding the edges in the image and fitting curves to them. The result depends on what you feed it: a clean, high contrast source traces well, and a soft or noisy one produces nodes nobody wants to edit. You prepare the image first, trace, then simplify. Tracing to outlines gives closed shapes with two edges, and tracing to centerlines gives single paths with a stroke.
centerline		linha central	proposed	Microsoft Visio pt-BR: linha central; plain geometric term.	A centerline runs down the middle of a stroke rather than around its edge, so the result is a single path with a stroke weight instead of a closed outline. Tracing to centerlines suits line art, engravings, and anything that was drawn as strokes in the first place. You choose it over outline tracing when the artwork will be scaled or restroked later, since a centerline keeps one editable path where an outline gives you two edges to maintain.
clipping mask		máscara de recorte	proposed	Illustrator and Photoshop pt-BR: máscara de recorte.	A clipping mask is a shape that limits what is visible of the elements below it. Name the application: in FontLab it is an element property; a FontLab Mask layer is something else.
control point	control handle point	ponto de controle	proposed	Final Cut Pro, Motion and QCAD pt-BR: ponto de controle (Brazilian spelling, not controlo).	A control point is an off-curve point that pulls a Bézier segment toward itself without lying on the outline. You drag it to change the curvature between two nodes. FontLab shows control points as handles attached to their nodes, so in interface text the handle is what you drag and the control point is what the file stores.
Fill Grid	grid of fill lines	grade de preenchimento	proposed	No attestation; fallback translated with the Brazilian grade.	The Fill Grid is the area of the Linestra panel where you choose a fill mode from a grid of previews. Below it sit the parameter rows, which hold Thickness, Spacing, Angle, Organic, Brightness, Contrast, and Source Levels. You pick in the grid first, because the parameter rows change with the mode you choose. Both words are capitalized: it is a named part of the interface rather than a description of a grid.
fill mode	line fill style	modo de preenchimento	proposed	Krita, Blender and Motion pt-BR: modo de preenchimento.	A fill mode is one of the named techniques that turn a source image into line work: Linear, Wave, Circular, Spiral, Halftone, Stipple, Hex, Contour, Low-Poly, Dither, Wireframe, Fractal, String Art, and ASCII among them. Each reads the brightness of the source and lays down geometry accordingly. You pick a mode, then tune its parameters. Write the mode name with its own capitalization and the words fill mode in lowercase after it.
G2 continuity		continuidade G2	proposed	Standard mathematical term.	G2 continuity means two segments meet with matching curvature, not merely with matching direction. G1 keeps the tangent continuous and can still show a break in the reflection where the curvature jumps. G2 removes that break. Vextra marks G2 nodes and can enforce the condition as you edit. You reach for it on long, shallow curves and on shapes that will be seen large, where the eye finds a curvature break that it would miss at text size.
Live Effect	editable effect	efeito dinâmico	proposed	No firm attestation; follows the reviewed languages (dynamic). Check against the Illustrator pt-BR wording before approval.	A Live Effect is an Illustrator effect that stays editable on the object it is applied to, listed in the Appearance panel and recalculated whenever the artwork beneath it changes. Vexy Linestra runs as one, so its fills follow the source artwork rather than freezing into it. You apply it from the Effect menu, under Vexy, and you expand it only when you need the result as plain paths. Expanding ends the link.
off-curve point	point off the curve	ponto fora da curva	proposed	No attestation; fallback translated.	An off-curve point sits beside the outline and shapes a curve without touching it. A cubic segment has two, a quadratic segment one or more. FontLab shows them as handles. Use the term when the file structure is the subject; use handle when the reader drags something.
on-curve point	point on the curve	ponto na curva	proposed	No attestation; fallback translated.	An on-curve point lies on the outline itself and is where two segments meet. In FontLab it is a node; the term is used when the contrast with off-curve points matters, for example when a TrueType outline stores both kinds in one list. You place on-curve points at extremes so hinting and interpolation have stable anchors.
outline		contorno	proposed	Glyphs 3 (pt-BR) (Preencher contornos) and Bringhurst (BR). Portuguese has one word for outline and contour.	An outline is the set of contours that describes a glyph's shape. Say outline for the whole drawing of a glyph and contour for one closed path inside it. Some languages have one word for both; French uses contour for each.
stroke		traço	proposed	Bringhurst, Elementos do estilo tipográfico (BR) and O traço (Noordzij) use traço for the stroke of a letter and Glyphs 3 has Expandir traço. Illustrator pt-BR says traçado; traço is kept as the shorter type-design word.	A stroke is the line drawn along a path, with a weight, a colour, and an alignment that puts it inside, outside, or centred on the path. It is not the fill, which covers the area the path encloses. In type design the same word means a main part of a letter. The localized vector term does not automatically apply to letter anatomy: PANOSE contrast and stem thickness describe letter strokes, not an outline effect. Use the established anatomical term in those contexts (for example Polish kreska or Ukrainian штрих).
stroke cap	stroke end cap	arremate do traço	proposed	InDesign and Illustrator pt-BR call the cap arremate; traço replaces Adobe's traçado.	A stroke cap is the shape at the open end of a stroked path: flat, square or round. Start and end caps can differ, and a cap can be linked so both ends match.
stroke join	stroke corner shape	junção do traço	proposed	InDesign pt-BR calls the join junção; derived from traço.	A stroke join is the shape where two stroked segments meet at a corner: miter, round or bevel. It decides whether an outside corner is sharp, rounded or cut.
tangent node	straight-to-curve node	nó tangente	proposed	No attestation; translated literally from nó.	A tangent node joins a straight segment to a curve so the curve leaves along the line. Its one handle stays on the line's extension.
tonal map	darkness map	mapa tonal	proposed	No attestation; translated literally.	A tonal map is the reading of brightness across a source image that a fill uses to decide where to put geometry. Dark areas widen a strip or crowd a pattern; light areas narrow or thin it. You control the mapping with the Brightness, Contrast, and Source Levels rows, which change what counts as dark before any geometry is drawn. Adjust the map rather than the fill when the result is uniformly too heavy or too sparse.
Tunni line		linha de Tunni	proposed	Eponym with the Portuguese preposition.	A Tunni line joins the two handles of a curve segment, with a control on it that Vextra draws as a pill. Drag the control and both handles move in proportion, so the depth of the curve changes without its balance changing. You use it when a curve is the right shape but the wrong fullness, which is the correction that is slowest to make one handle at a time. Named after Eduardo Tunni, so keep the capital T.