Throwing a way a typeface because of one letter is like trashing your kitchen because you don’t like the drawer pulls. ;o)

I will say DSType definitely has strong personalities, so you either get along with them or you don’t. That said, if it’s just the g that’s not doing it for you, modify it (provided the EULA allows it, of course).

Ha! If only, aluminum. I don’t have font-modifying software (yet...) All I can do is outline in Illustrator. Not too practical for that purpose.

But you didn’t answer my question!

I can’t think of something off the top of my head for myself, but I am sure everyone to some extent or another might have had a similar experience.

The strongest tools foundries have to sell their typefaces are the specimens. If they are well designed I will raise my hand with guilt that I find myself wanting to license the fonts.

Dino’s specimen demonstrates clearly how the g from the Leitura News was changed or designed to contrast with Leitura. Did you like you not notice it in the specimen? (Maybe I’m looking at a different specimen.) I actually think it is quite cute, but can imagine that once you’ve locked onto something you don’t like it won’t disappear. I have a few typefaces that I won’t license because of quirks I’ve noticed.

You’re right, the weird “g” clearly shows in the diagram.

At the time, I admired the chiseled, angular outline of the Leitura letterforms and preferred them over the rounded edges and curved brackets of the Leitura News.

The “g” flag bothered me only when I saw how it annoying looked with the other letters in a line of text...after I had bought it and started experimenting with it, of course.

I’ve bought a number of fonts on impulse, but believed I had made a studied decision with Leitura, damn it.

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Speaking of impulse, I have a weakness for juicy, beautiful retro designs like Nick’s Fonts. I have all of his older free ones and bought 5 or 6 of his commercial fonts. Not once have I used one for a job - it just gives me pleasure to play with them like a pair of frivolous shoes. Every time I tell myself: Okay, no more Nick’s Fonts, Dina, until you get a paying job using one of these...

At least with Nick’s I’ve never stop liking any, though I knew each was an unecessary purchase.

As a typesetter in New York - and can guarantee you I bought many fonts that I just didn’t like.

But you learn - that one day, a job will come along that will be perfect for that font...

Yes, even Comic Sans....

But you learn - that one day, a job will come along that will be perfect for that font...

Just the other day I was able to use Ecliptica italic in a poster headline. I’ve got loads of other fonts which I’ve yet to use, just waiting for the right project. Priori Sans is a good example, I almost used that recently but changed my mind at the last minute. And I bought Amplitude three and a half years ago, when it was really fashionable, and couldn’t find the right project for it! I’ve used it a couple of times, but not enough to do it justice. And now it isn’t so trendy anymore so I’ve effectively shelved it.

One of the funny things about big font collections, like the Bitstream Type Odyssey, is that you don’t really know what you’ve got for the first few years. Even now, I’m still feeling my way around. But I still want to buy more type!

Thanks for the feedback, everyone; it’s very helpful.

I would never have guessed that Amplitude is no longer trendy. It looks trendy to me, but of course a working design professional in the industry is much more conscious of trends. My customers would never know the difference. Frutinger and Amplitude would look the same to them. They would even be surprised that “trends” aand “fashions” in type exist.

You might guess they are not magazine publishers and high-end boutiques.

I would never have guessed that Amplitude is no longer trendy

Don’t take my word for it, I just have a low boredom threshold!