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Amazing, Nick. I want this for Christmas!
Very nice! Congratulations, Nick.
An old favorite. http://www.flickr.com/photos/stewf/tags/type:face%3Dbodoniegyptian/
Great! Lovin' the bold caps =D
On of the best ones i've ever seen! Good work, Nick!
saw this at Michael's (craft store) the other day
Excellent work Mr. Shinn
Mmm love that sexy leg on the R.
Thanks for the kind words.
Matt, that Michael's example has pretty strange letter spacing, nothing like what I put in the typeface (original or updated), with or without kerning, or even Adobe's "optical" spacing! Caveat scriptor...
Nick, this is beautiful and marvellous, you must be delighted!
absolutely beautiful! :-)
I'm lovin' it, Nick! Congrats!
You could do with a tea Chris ;^)
LOL!!! Now I have to leave it just for the joke value!
yeah, I didn't mean to post that photo just to show the horrible kerning.
Thats the designer's fault, not yours.
great stuff though. its nice to see it in simple shops like that.
why just the Thin and Extra Ligh number "4" has serifed crossbar? was them a first version?
Bravo! It is now my Christmas font (family)!
(Don't tell anybody that I already opened it...)
It was a feature I've seen on some Bodoni interpretations.
I liked it, but on a slab serif there was only room for it in the very lightest weights.
Similarly, I gave the lining dollar two vertical bars on the lightest weights, but only one elsewhere.
Some other letter forms change with weight:
Matt, always nice to see one's fonts in use, no matter how!
I never understand why some 'duhsigners' (TM. House Industries), feel the need to ruin perfectly good kerning with their own illogical nonsense. I have seen quite a few who put extra space after an r even though it is the character with the most space on the right side.
Can't stop looking at it... Fine, Mr. Shinn!
Great new take on a classic. Great work, Nick!
When will this appear on the shinntype site?
My site is languishing, I need to get some new help.
That's next on the agenda, now that this typeface is finished.
How many hand does it take to run a one-man shop, Nick?
More than I have :-)
"I made your eyes"
"If only you could have seen what I have seen with your eyes."
By the way, is that at the bottom your logo? It's awfully similar to this one:
Yes, that's been pointed out before.
Quite a coincidence, as I've never been to the Czech Republic.
Once I had the basic rough concept (blackletter meets monoline hexagon), it pretty much drew itself -- although I softened the joints.
So I would imagine the designer of the lottery logo had the same experience.
That would account for the similarity of proportion in the execution.
There are many geometric constructions, though developed independently, are almost identical. That is the danger of strict geometry and use of regular forms and angles, if you are looking for uniqueness or originality.
Looks like it's possible to set a whole book with nowt but this and have it come out perfectly readable.
They managed with the original version, without small caps and the Fraction feature.
Looks nicer than my sister's copy of a book of chocolate recipes. AFAICT, it's all set in Century Gothic. Monotype Century Gothic. Not a very choccy choice, IMAO. Mind, I get the feeling when looking through printed goods that things like Avant Garde are kind of 'in' up here in Incompetent-banker-land.
Well done, Nick! Finely crafted and very creative and useful to boot. Thanks for posting.
There are a couple of questions that I was expecting to be asked, but as nobody has done so, allow me:
Nick, why are there no italics for the extreme weights (Thin and Black)?
It would have been a lot of work, the Thin requiring much delicate drawing, and the Black being awkward to design/draw. And I reason that those weights would rarely if ever be licensed or used by designers.
Why are there no small caps, fractions, superiors and inferiors, in the Thin, Extra Light and Black weights?
Again, it would have been a lot of work, which I don't believe would ever have been used. These are "expert" features used in body text, so are not required in display weights.
Was I correct in my assumptions?
Is there no call for Thin italic or Black small caps?
Like I said, Nick, I am a sucker for xtreme weights.
But have you ever used small caps, fractions etc., or italics in those weights?
Smallcaps and italics, yes, but so far, not fractions in a real job (other than in a promotional piece I did for Dez Boulder and Froggy)
Bloody beautiful mate. Well done!
Especially the signature majiscules
This truly is a beautiful piece of work.
My only question is in regards to pricing. I see on myfonts it is currently $245 with the promotion and $350 without it.
With the lack of weights/styles what justifies the pricing when I could purchase Archer with 25 Styles for $280 and get all the weights that weren't created for Bodoni Egyptienne or even spend $50 more when the Bodoni promotion ends and get all 40 styles of archer for $400.
14 styles of Bodoni Egyptienne for $245
25 styles of Archer for $280
It makes it hard to consider Bodoni when I am getting 11 additional weights for $35 with Archer.
I only bring this up because I am currently very seriously considering this purchase myself and I am having to decide between the two. When I hear a designer say "it would have been a lot of work", this makes me questions the overall integrity of the font. I am not so sure HFJ said the same thing when designing Archer and is this evidenced by the weights/styles available. It may be easier for me to justify spending that $35 and going with Archer even though this is such a new and beautiful font.
Both of these are fine designs.
The standard EULA for Archer is very different from the EULA for Bodoni Egyptian, so your intended usage could tip things.
(click on view license)
Nick's standard EULA is far more liberal, allowing public PDFs and modifications.
Also, Nick's EULA is for 5 computers, and you're quoting the H&J price for one.
Plus, Bodoni Egyptian is available with an @font-face license at FontSpring.
Finally, Archer is everywhere, Bodoni Egyptian is not (yet!)
Very informative and things I had not considered......other than Archer being everywhere :)
It's tough with fonts because right when you think you have found the "right" font for a project, you then have to read the fine print.
"... right when you think you have found the "right" font for a project, you then have to read the fine print."
That's not just true of fonts!
John’s reminder to dig into the licenses is a good one. Also keep it mind that # of fonts (weights/styles) isn't the only indicator of a family's value. There is also the matter of small caps, extra alternate glyphs, and language support.
When I hear a designer say "it would have been a lot of work", this makes me questions the overall integrity of the font.
Certainly, integrity may be defined as each font in a typeface family having exactly the same characters and features.
I sacrificed a little of that for what I considered increased utility. Rather than skimping on features and styles in some weights, please think of it as generosity in other weights :-)
When comparing weights, it's also useful to consider their range, not just their number.
Congratulations Nick, nice work!
And number of weights is not necessarily a sign of quality.
Numbers rarely tell it all. These are easy to tally but but not really the indicator of quality. Anyone who needs the extra glyphs in the black weight can get them either through Nick or some other way.