Bodoni Egyptian Pro -

Nick Shinn's picture

Font showing at MyFonts.
PDF specimen.

Frode Bo Helland's picture

Amazing, Nick. I want this for Christmas!

Ramiro Espinoza's picture

Very nice! Congratulations, Nick.

1996type's picture

Great! Lovin' the bold caps =D

eliason's picture

Nice update!

dhannah1000's picture

On of the best ones i've ever seen! Good work, Nick!

matt_yow's picture

saw this at Michael's (craft store) the other day

Excellent work Mr. Shinn

Nick Cooke's picture

Mmm love that sexy leg on the R.

Nick Shinn's picture

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 Job's picture

Nick, this is beautiful and marvellous, you must be delighted!

Santiago Orozco's picture

absolutely beautiful! :-)

dezcom's picture

I'm lovin' it, Nick! Congrats!

Nick Cooke's picture

You could do with a tea Chris ;^)

dezcom's picture

LOL!!! Now I have to leave it just for the joke value!

matt_yow's picture

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.

Santiago Orozco's picture

why just the Thin and Extra Ligh number "4" has serifed crossbar? was them a first version?

Aaron Thesing's picture

Bravo! It is now my Christmas font (family)!

(Don't tell anybody that I already opened it...)

Nick Shinn's picture

Santiago,
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:


This italic treatment is taken from Century. I used it before, in Worldwide.

**

Matt, always nice to see one's fonts in use, no matter how!

**

Thanks Aaron!

Nick Cooke's picture

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.

bela.frank's picture

Can't stop looking at it... Fine, Mr. Shinn!

Tomi from Suomi's picture

Great new take on a classic. Great work, Nick!

John Nolan's picture

When will this appear on the shinntype site?

Nick Shinn's picture

My site is languishing, I need to get some new help.
That's next on the agenda, now that this typeface is finished.

dezcom's picture

How many hand does it take to run a one-man shop, Nick?
More than I have :-)

.00's picture

"I made your eyes"

"If only you could have seen what I have seen with your eyes."

mgrabovsky's picture

By the way, is that at the bottom your logo? It's awfully similar to this one:

Nick Shinn's picture

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.

dezcom's picture

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.

Té Rowan's picture

Looks like it's possible to set a whole book with nowt but this and have it come out perfectly readable.

Nick Shinn's picture

http://www.amazon.com/Very-Merry-Cookie-Party-Christmas/dp/0811866750/re...

They managed with the original version, without small caps and the Fraction feature.

Té Rowan's picture

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.

Stephen Rapp's picture

Well done, Nick! Finely crafted and very creative and useful to boot. Thanks for posting.

Nick Shinn's picture

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?

dezcom's picture

Like I said, Nick, I am a sucker for xtreme weights.

Nick Shinn's picture

But have you ever used small caps, fractions etc., or italics in those weights?

dezcom's picture

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)

Bloodtype's picture

Bloody beautiful mate. Well done!

Bloodtype's picture

Especially the signature majiscules

Fabien Barral's picture

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.

John Nolan's picture

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.

Compare this:
http://www.typography.com/home/eula.php
and this:
http://new.myfonts.com/fonts/shinn/bodoni-egyptian-pro/regular/buy.html
(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!)

Fabien Barral's picture

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.

John Nolan's picture

"... 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!

Stephen Coles's picture

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.

Nick Shinn's picture

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.

William Berkson's picture

Congratulations Nick, nice work!

Frode Bo Helland's picture

And number of weights is not necessarily a sign of quality.

dezcom's picture

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.

Frode Bo Helland's picture

Christopher:

Syndicate content Syndicate content