Hi Caleb, Nothing wrong with a crusty woodtype slab serif. The letterforms look ﬁne. The eﬀort ahead of you is to take what you have and turn it into something unique. How do you make this font marketable. Well for one thing, you give it features you don’t ﬁnd in other fonts. Such as? Loads of ornaments, borders, and a large gammut of ﬂourishes (all crustiﬁed like your sample). Probably a whole extra font worth. You could also make an overlay font, that adds interior details. Oh yeah, a decent lower case would push this past a whole slew of similar fonts. Looks like a fun project! Cheers, Randy One piece of advice: I’ve found sharing at least a little info about your source material (if any) is a good thing. For example, one could wrongly assume that you printed out an existing font, autotraced it a little grungy, then called it yours, when in fact you dug up a sweet little gem at a garage sale and inked up some prints. Also, I’m curious :-)
thanks randy, they are sketched, then scanned. i used several very old woodcarving books from our libray at UNT as reference, combining diﬀerent characteristics. these books were printed in the late 50’s. does this bring up a copyright issue?
what the hell?
Should be ﬁne. (But I will envoke the, I’m not a lawyer clause). On the quadrupple post, it will work even though you may get an error, or it takes forever. I open up another window and continue browsing while I wait for the other one to crash and burn. Looking forward to seeing where you go with this. Randy
Bruhn’s Farao can be a good reference for you…
Hi Caleb I have done lots of these kinds of fonts, and I will say this, to follow up on earlier comment — do all the characters, uc and lc, etc. I like the roughness of it, distinguishes it somewhat, but this is a good start, maybe expand on that idea. Keep on keeping on Jordan