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My Reflection Small Caps character side by side with gorgeous Natalia.
Paolo Roversi photography.
An older font of mine called Signer and some pictures during its design process.
Definitely a typeface with a long story for me. After several adoptions for sub pixel rendering I newly had to make some redesigns for a retina display version without sub pixel rendering (lately problematic in iOS8).
After the time and many corrections with what Frederic Goudy once called the fresh eye effect it became slightly more classic gothic more in the direction of a Chanel like typeface. This was caused by making design automatically bolder and lighter a few times doing the needed corrections by hand.
As since I had started over the time many letters have undergone improvements that I wouldn’t want to get lost during the re-process.
Two pictures of my “Girl” character. g was inspired by beautiful Natalia.
Pleased to highlight the changes made to http://maryamsoft.com/QalamBartar/
and to my dual Naskh Fonts that have been concurrently used in YS-Aziz.pdf, namely: wm_Naskh Aziz + wm_Naskh Mostafa
Feedback is highly appreciated
Some dots inside http://typophile.com/files/MissingDots.pdf are missing. Put them back @ win a copy of Arabic/Jawi Kaligrafer.
ببراڤا تيتيق د دالم لامن اين هيلڠ. ملتقکن مريک کمبالي @ ممنڠي سالينن عرب / جاوي کاليݢرافير
All the Best for All
Sad to see this amazing year come to an end, but here’s the rich output:
Come look if you’re nearby! The website will be up soonish after the exhibition too.
See my Reflection character with the beautiful Natalia photographed by Paolo Roversi in an artistic personal research that I did for Christian Dior griffe:
Click and drag to see the letters more close up.
Here a screenshot during the work on my Urbino italic typeface.
[from Frammenti della Bellezza]
Two pictures of my „Ravish“ character accompanied by a Paolo Roversi photography.
Here some new pictures of my font called Threeadvanced in its sub-pixel negative variant
I am still captured by adapting monitor fonts for sub-pixel rendered environment. Two pics from my font meant to work in small sizes and in negative use white on black ground. To create a version that is similar in weight to the original one has to do a very much lighter character design like the one above in this pic.
But it’s worth while because sub-pixel fonts look so much neater and better!
To see it „at work“ here is my credit page part of my homepage: http://www.stefanseifert.com/Contact.html
“At 35 feet wide by 8.5 feet tall, this three-dimensional mural designed by CBS design director Lou Dorfsman and the typographic maestros Herb Lubalin and Tom Carnase took over one entire cafeteria wall of Eero Saarinen’s Black Rock, the CBS Building on Sixth Avenue between 52nd and 53rd Streets. Dorfsman considered this massive frieze of custom-milled woodtype spelling out foods and food groups—from lamb chops to hasenpfeffer—his magnum opus, his gift to the world.”
Read the full article on The Atlantic.
some pics from my work on a font for my webpage destinated for very small sizes around 9px.
I am struggling with balancing hinting for small screen sizes, special versions for negative use on black ground with sub pixel rendering and so on…
In this pic one can see the results comparing (for now only) two browsers Google Chrome and Safari both on Mac.
For me the first one is the best, yet it is achieved with a particular thinner version of the same font only for the use on black ground. Otherwise as known sub pixel rendering tends to make fonts look much bolder than they are in reality.
As a design student, I’m sure you’ve opened up FontBook or the InDesign font menu and scrolled all the way down to Zapfino before realizing that none of the fonts on your computer quite match the fluffy type visions in your mind. So then you head over to a wretched site like dafont.com, only to be confronted with an infinite number of terrible choices. What do you do next?
This is getting to be too regular.
It’s TypeCon Week, which in the land of type geeks, means days and nights filled with typographic inspiration, scholarship and debauchery. Unless, like me, you’re not going to TypeCon this year. As my social media feeds fill with the hashtags, the inevitable filtered shots of Portland signage and the local typographic faux-pas, I’ll be watching enviously and refreshing my browser incessantly from the sidelines. For those of you who are about to embark on your TypeCon voyage, here is some unsolicited advice on what to do (and not to do) from a six-time offender.
Here some pictures while I am working on „Reflection Text“
Cleaning up the huge image library I'm amassing and ran across these typographic inlays we've done.
"DIABLO" in P22 Posada:
"Alexandria" in a custom calligraphy:
"PT" in Psy-Ops Alembic slightly modified to match the vibe of the other fingerboard inlays:
These are all hand cut with a jeweller's saw by some amazing artisans.
Unless you’ve been living in a secluded yurt for the past few days (although you’d probably still be checking your phone, don’t lie), I’m likely not the first person to tell you about Matthew Butterick’s Practical Typography, a new read in a long line of essential reads on typographic rules. Butterick’s writing is especially refreshing and particularly useful for explaining these sometimes confusing and cryptic details to the novice or the first-year design student.
With type conference season in high gear, designers everywhere are uttering sighs of disbelief at the prohibitive costs of getting one’s geek on.
The discussions over conference fees, travel and hotel expenses are understandable. And given the variety of international type conference options available these days (ATypI, TypeCon, TYPO, Ampersand, TypeTalks, ICTVC, Typography Day, Granshan, Kerning, oh and this), how does one even chose what is worth attending?