FontCreator 16 gives every glyph a clearer layer model. Where earlier versions treated everything behind your outline as a single background image, you now have three purpose-built tools — Reference Artwork, the Background, and Helper Layers — each suited to a different part of the design process.

In short: reach for Reference Artwork when your starting point is an image — a scan, signature, logo, or sketch you want to trace or compare against. Use the Background when it's outline geometry you want sitting behind your active layer, such as an earlier version of the glyph or a locked comparison shape. And use Helper Layers to park alternate sketches, work-in-progress outlines, and experiments next to the master without making them part of the finished glyph.

All three live in the Masters and Layers panel, so you can trace, compare, and refine without losing earlier ideas along the way.

The three tools at a glance

If you only remember one thing, make it this: Reference Artwork is for images, the Background is for outline geometry behind your active design, and Helper Layers are for alternates and work in progress.

Reference Artwork: trace scans, logos, and sketches

Reference Artwork attaches raster or vector imagery to a master as a tracing reference or visual aid. Each master can hold several reference items, and each appears as its own row in the Masters and Layers panel.

This replaces the older single Background Image. Instead of one fixed backdrop, you can keep a scanned sketch, a cleaned-up logo, and a second version for comparison all in the same glyph. Reference Artwork is the right choice whenever the source isn't glyph geometry yet — a scanned signature, a handwritten letter, a logo supplied as an image, a historical specimen you want to redraw, or a rough sketch or vector reference from another application.

Add Reference Artwork

1. Open the glyph you want to work on.
2. Open the Masters and Layers panel.
3. Click the Add button (or right-click the master) and pick how to bring the artwork in:

- Add Reference Artwork From File… — load a raster or vector file; - Add Reference Artwork From Clipboard — paste artwork you've copied in another application; - Add Reference Artwork From Glyph — use another glyph's outline as a reference.

1. The artwork appears as a row under the master it belongs to.

Because you can add more than one reference per master, it's easy to compare a rough scan against a cleaned version, or keep separate references for different parts of a glyph.

Note — The same Add menu also creates Color Members and SVG Color layers for color fonts, and Smart Axes for parametric glyph parts. Those belong to other workflows — see Create OpenType Color Fonts and Smart Components.

Position and scale the reference

Once the artwork is in, move and scale it to line up with the font's design space — a capital aligned to the baseline and cap height, a lowercase sketch to the baseline and x-height. Each reference keeps its own position and scale, so several can sit in different places without interfering with one another. Drag artwork in the glyph editor to reposition it, and use its properties when you need precise numeric values.

Show, hide, or remove references

Use the eye icon next to a Reference Artwork row to show or hide that item — handy when a reference starts to distract you from the curve you're refining. Remember that the reference is a visual aid, not outline geometry: it won't become part of the exported font unless you redraw or convert it into contours.

Right-click a Reference Artwork row for the rest of its commands: Convert to Contours, Duplicate, Delete, the stacking order (Bring to Front, Bring Forward, Send Backward, Send to Back) when several references overlap, and Properties….

Tip — On Windows you can toggle the whole Masters and Layers panel with Ctrl+F6. On macOS the panel is part of the fixed sidebar, which you show or hide as a whole.

Draw over Reference Artwork

With the reference positioned, draw your contours over it using FontCreator's normal drawing tools. A reliable tracing rhythm looks like this:

1. Add the scan, logo, or sketch as Reference Artwork.
2. Position it relative to the baseline, x-height, cap height, or advance width.
3. Draw rough contours over the reference.
4. Hide the reference now and then to judge the glyph on its own.
5. Refine curves and point placement once the basic shape is in place.

Don't try to make the first pass perfect. Capture the main proportions first, then refine the outline as a font glyph. A glyph usually needs cleaner geometry than a literal bitmap trace, so after the rough shape is down, inspect the outline, remove unnecessary points, and smooth uneven curves.

Convert raster artwork to contours

Reference Artwork is mainly for tracing and comparison, but raster artwork can also be converted into vector contours — right-click the Reference Artwork row and choose Convert to Contours — to give you a quick first pass of editable geometry. It's a real time-saver for simple, high-contrast shapes, though it rarely produces finished font-quality outlines on its own.

For the best results, start with high-contrast artwork, crop tightly around the shape, and avoid noisy, blurry, or low-resolution scans. Always clean up the generated contours afterwards, and check the side-bearings and advance width once the outline is usable.

For the full image-to-font workflow — preparing scans, tracing, and cleanup — see Create a Font from an Image, Logo, Signature or Handwriting, and Import Vector Artwork (SVG, EPS, AI) for vector sources.

The Background: keep outline geometry behind the active design

In FontCreator 16 the Background is a proper layer, not a flat image — it can carry its own outline, metrics, anchors, color, and visibility. Use it when you want glyph geometry behind your active layer: freeze a rough outline before refining it, place an earlier version behind a cleaner redraw, compare an old design against a new one, or keep a shape visible to snap to while you draw.

The distinction from Reference Artwork is simply the kind of source you have. If your reference is an image, start with Reference Artwork. If it's already a drawn glyph shape, the Background is usually the better fit.

Background commands and visibility

Unlike Helper Layers and Reference Artwork, which you manage by right-clicking their rows in the panel, the Background is driven from the main menu. Manage background geometry from the Glyph → Background commands:

• Set as Background — replace the background with the selected outline geometry.
• Add to Background — add selected geometry to the existing background.
• Swap with Background — exchange the active layer and background contents.
• Clear Background — empty the background.

Control how the background appears with the display options:

• Show Background — show or hide the background behind the active outline.
• Show Background Nodes — show nodes on background contours.
• Snap to Background — let points and contours snap to background geometry.

Turn on Snap to Background when you want new contour points to land exactly on a frozen reference outline.

Helper Layers: keep alternate sketches and work in progress

Helper Layers are auxiliary layers attached to a master — the place to keep an alternate version of a glyph without disturbing the master outline. They suit a first rough trace, a second design direction, a heavier or lighter take on a glyph, an alternate serif, swash, or terminal, a comparison overlay, or any work-in-progress geometry you might return to. Add one with Add Helper Layer in the Masters and Layers panel, or use Copy Foreground to New Layer to drop your current outline onto a fresh helper layer. Right-click an existing helper layer for its own set of commands: Copy Foreground Here, Swap with Foreground, Clear, Duplicate, Delete, and Helper Layer Properties….

Each Helper Layer has its own name, opacity, and color, and it pays to use them deliberately: a layer named "First trace" or "Wide terminal test" is far easier to make sense of weeks later than an unnamed one. A common setup is to keep your rough trace on a Helper Layer at reduced opacity and a distinct color while you draw the clean final version on the master, so you can always see how the new outline compares to the earlier attempt.

One caveat worth stating plainly: Helper Layers are a design-organization aid for keeping alternates and comparisons close at hand. They are not a substitute for proper masters in a variable font.

Example workflow: trace and refine a logo

Here's how the three tools come together in practice.

1. Open the glyph where the logo or symbol should go.
2. Add the logo as Reference Artwork.
3. Position and scale it to fit the em square, baseline, and intended advance width.
4. Draw a rough outline over the reference.
5. Move or copy that rough attempt to a Helper Layer named "First trace".
6. Draw a cleaner outline on the master, comparing it against the helper layer.
7. Put your best previous outline on the Background when you want a locked comparison target.
8. Hide the Reference Artwork and judge the glyph as a font outline.
9. Clean up nodes, spacing, and metrics.
10. Test the glyph in the Font Test window or with a proofing string.

The payoff is that the original image, the rough sketch, and the final outline all stay separate — you can compare versions without ever losing your work.

Best practices

A few habits keep this workflow tidy:

• Keep references separate from final outlines. Don't trace straight into a messy final shape while you're still experimenting.
• Name Helper Layers clearly. A meaningful name is worth a lot when you reopen the project later.
• Use opacity and color with intent. A helper layer should support your drawing, not bury it.
• Hide Reference Artwork while judging the finished glyph. A good trace has to work as a clean font outline, not just as a copy of the image.
• Clean up after conversion. Auto-converted artwork usually needs point reduction, curve cleanup, and spacing adjustments.

Troubleshooting

Frequently asked questions

Is Reference Artwork part of the exported font?

No. Reference Artwork is a design aid — it helps you trace and compare, but it isn't exported as a glyph outline. To make it part of the font, redraw it as contours, or convert it to contours and clean up the result.

Can I use more than one reference image?

Yes. Each master can hold multiple Reference Artwork items, and you can show or hide them individually in the Masters and Layers panel.

Should I use Reference Artwork or convert the image?

Use Reference Artwork when you want to keep an image visible while drawing or comparing. Convert the image when you want FontCreator to generate editable contours from it. Many projects use both: add the image as a reference, draw or convert an outline, then clean up the result.

What's the difference between the Background and Reference Artwork?

Reference Artwork is raster or vector imagery used as a visual reference; the Background is outline geometry behind the active layer. Use Reference Artwork for scans and logos, and the Background for glyph outlines you want to compare against or snap to.

What is a Helper Layer for?

A Helper Layer keeps an alternate or work-in-progress version of a glyph near the master — useful for sketches, experiments, comparisons, and design alternatives.

Can masks be used with these layers?

Masks are flags on contours or components. Because the Background and Helper Layers can hold outline geometry, they can take part in workflows that involve mask-flagged elements. For the full picture, see the dedicated tutorial on using masks.

What to read next

• Create a Font from an Image, Logo, Signature or Handwriting — prepare scans, logos, and handwriting so they trace cleanly.
• Using Masks — build non-destructive cut-outs and stencil shapes.
• Draw Better Glyph Outlines — refine contours after tracing.
• Export Fonts Correctly — understand what becomes part of the final font.
• How to Make a Variable Font — see why helper layers are design aids, not interpolation masters.