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Howdy crew, we're currently hunting for some branding typefaces for our screen design and animation outfit called.
While we've got some type directions in place that we're happy with, I thought I'd open it out to you knowledgeable folk to offer suggestions of typefaces that might hit the mark.
As a business we sit somewhere between a creative animation studio (Frankfurter) and a sharp, design-led VFX company (modified Baskerville Old Face). While the worlds are seemingly polar opposites, we feel there might be some middle ground worth exploring.
So ... with that little tidbit of info, got any suggestions of faces?
Fire away with any questions too.
I've got a brief to make a small book/booklet in the style of a "Dockers Workbook" celebrating one man (union leader Walt Cunningham's) life on the docks of Hull between 1950's-1980's.
i have been looking everywhere for a nice clear legible serif typeface to use for my body copy , i found one that i loved FF Scala Pro Regular http://www.fontshop.com/fonts/downloads/fontfont/ff_scala_pro/ it works n perfectly with the ethos of my type having been use in books depicting democratic revolutions/movements and in Museum booklets.The elegance of this typeface is exactly what i need but don't have the € 299.00 to purchase it on a student's income.
Just a quick question: Is there such a things as a guide to typical or standard character sizes? I'm in the process of creating a new typeface and I'm having trouble deciding on the width of some characters in relation to each other... for example, what's the typical length of the minus hyphen compared to the m dash? And the plus character? And so on and so on... Some very good info is in the "Character design standards" Microsoft Typography site, but no info on widths/proportions.
Also, any resource listing all the characters that "need" to be included in a font? My typeface will be Latin and Cyrillic and I'm using other fonts to look at which characters to include.
I was wandering if anyone could offer a little advice I'm looking for a typeface to compliment Bickham Script Pro. Any advice would be gratefully received.
Thank you for any guidance you maybe able to offer.
Very much a work in progress, but as a designer who regularly has to purchase/license type and other resources, I just fired up a blog over at dlio.tumblr.com to dig-up/share daily deals, discounts & fresh releases of curated/quality type & design resources. Check it out or follow @getdlio if interested, and of course... hit me with your thoughts/ideas!
Very much a work in progress, but as a designer who regularly has to purchase/license type and other resources, I just fired up a blog over at http://dlio.tumblr.com to dig-up/share daily deals, discounts & fresh releases of curated/quality type & design resources. Check it out or follow @getdlio if interested, and of course... hit me with your thoughts/ideas!
I have over the past few years tried my hand at brush-lettering or hand-lettering or whatever name this kind of style goes by. I have attached a few images for clarification. I am currently involved in another project that uses a similar style and whom better to ask than the typophiles:
In designing hand-lettering, what must one always be aware of to make it… you know… work?
The things I have so far struggled with a lot are:
Regarding the incline:
I'm in the process of creating my first font and was wondering if you (more experienced) guys could answer me a quick question: how much cut and paste is ok? What I mean is this: can I simply re-use my b for p (and q), or n from h, or r from n and so on. (I documented some of this in a blog post a blog post, if you are interested.) Should design every letter from the ground up or can I use this kind of shortcut?
I'm not sure if this kind of copy and pasting is messing up the rhythm of the font or if it is actually standard practice.
This time my client is an industrial designer who has come up with a cross between a portaledge (in case you have no idea what that is, check this out: ) and a treehouse. A portable treehouse.
The chosen name for this miracle of workmanship is "Cambai", which is an alternate spelling of "Kambai" a tree-living tribe from Indonesia that build their dwellings at a height of vertigo-inducing 30 - 40 feet of the ground and, you probably guessed it, the sound of "come by".
This is the first time I post to the forum, so any advice you have to offer would be greatly appreciated.
I am redesigning a science and technology magazine that uses Officina Sans for the body text. Right now the masthead is Serpentine, pagination is Eurostyle, the deck and some headlines are Avenir and some heads are Trade Gothic (as are the dropcaps).
Needless to say, the result is very heavy and chaotic. I am looking to streamline the number of fonts and create a lighter, more contemporary look. Any suggestions for fonts that would pair well with Officina Sans for Headlines, pagination, and masthead?
Thanks in advance for your time.
I'm a graphic designer, and have decided after reading so much on the subject to finally roll up my sleeves and start dabbling with type design myself. I've chosen a simple, upper-case, sans serif display face meant for poster work to start with in order to get myself acclimatized with the process. The results so far have been plenty satisfactory, and I've had a blast fleshing out my type with punctuation, numerals, and accents.
This is my first post, so be gentle. My professor, Pablo Medina, suggested this place to ask for some insight on a research paper I'm doing.
I'm basically in the formative throws right now, but I'm working towards some sort of thesis. I'm thinking about discussing how Bodoni as a transitional typeface bridges the gap between serif and sans serif fonts, and/or something else to do with its place in history.
As I said-- formative throws.
My main point of posting here is to ask if you guys can recommend any good sources, print or otherwise, for me to read up on the history and help myself get as close to a perfect grade as possible!
Anything would be appreciated, even just insight.
I have recently graduated from university, studying Graphic Design. I have created a blog with some of my designs to exhibit some of my skills.
Here is my blog: munyachidakwa.wordpress.com
I would love for some feedback on my work. I am open to any form of criticism.
I thank you for taking time to read this
Does anybody know any design blogs other than creative review?
This is the link posted by zeno333 ( http://www.typophile.com/node/95122 ) to know what is your favorite letter. http://www.youtube.com/watch?v=F691weEVpwc
There is another thing towards the end of the video where Mr. Spiekermann criticizes Microsoft a lot. He goes to say that Microsoft is a company with bad tatse and stingy( since they didn't want to pay Linotype their license). He also says they commissioned Segoe to look like Frutiger and Arial to look like Helvetica.
I think Microsoft does a lot in the field of Typography(OpenType and VOLT). I also personally like Segoe UI more than Frutiger.
Do you think Mr. Spiekermann is right here?
Hello to all,
I know the importance of good graphic design - but don't have the means to have a graphic designer revisit mine (which I'm trying to set up).
Nevertheless, maybe something can be done about the font, at least for the header/name (the rest I think I'll keep in Tahoma or courrier). Would you give me your feel about a font if I describe what is the aim of the site and what I whish to express?
I know well it's a personal choice, but my range of font is extremely limited, so all advise, feel, any idea would be really welcome!
Sometimes a surprise, sometimes as expected – MeM is an interactive type system with a wide range of individual personalities.
The eccentric experimental type system created by Elena Schädel and Jakob Runge in 2012. It produces many personalities, each individual and emotive. You will never know which of the alternating letters is going to occur next. Basically, at the heart of it all is MeM: four different weights and letter shapes melded together into one powerful font and shuffled with the sleek usability of OpenType.
So I'm starting on my first serious Hebrew companion to a font in the works. I'm far from professional or even good, I'd say. Either way, I found that resources about Hebrew text are very rare, and while I could fine plenty of resources about latin character design, I find myself doing mostly guesswork when it comes to Hebrew.
So I managed to figure out a lot of things by myself just from looking at how existing known fonts look: shin connects to the left side, samech is kind of like a lowercase sigma as opposed to final mem, and so forth. But still, I know virtually nothing besides.
I've narrowed my business logo down to 3 favorites. I'd like some critique. Favorite and why; colors complementary, too dark/too light; kerning too tight/loose; design element too much/dark/light; design element size; so, basically anything I need to do that would make it better, etc. Be brutal, but constructive. Thanks so much :)
The Fine Press Book Association is offering prizes for the best text families and titling faces designed by a student during the 2011-2013 academic years. Winning and runner-up type designs will be featured in the Association's journal "Parenthesis" and the winning titling face will be engraved and cast in foundry metal by the Dale Guild type Foundry.
I'm in the process of branding my budding freelance design business and I started with the logo design. I'm fresh out of high school and I plan on majoring in graphic design in college, but I want to get my business up and running as soon as I can. I really just want to get my foot in the door and snag some potential clients. I have created a simplistic logo for my company Midair, and needed some critiques and opinions!
Every year I push a design challenge on myself about myself. I love redoing my personal logo, especially because I'm just a student designer and my "personal" brand is still being built upon. My initials are D, L, and S, and I've always had a problem piecing them together based on the shapes and high x-height of the L in comparison to the bowls of the D and S. Recently, I've been very interested in geometric monograms and especially how the specific letters--triangles for D's and L's, and a swirl for the S--could overlap to become my personal logo and being slightly legible while really deriving from the letters as opposed to clearly showing them.
These are the product of a late-night brainstorming process. Any thoughts?
Hello everyone! I recently started this new design blog (3 months ago) and I'm glad to share it with you guys :) The blog is about logo designs, both creative and design-rich logotypes. All of the designs is featured from dribbble. I mainly started it because of my love to logo designs, that's actually also how I came up with the name "Logo Crush". It now has a capacity of over 250+ design-rich logotypes (and counting), to inspire, learn from or simply to enjoy!
I searched the site, but found no results for "TextAxis" or "Iñigo Jerez", but his type design is fantastic.
Has anyone ever been able to purchase any of these fonts in the past? It seems like they are not for sale and haven't been for quite some time.
Can you suggest a good type that will fuse with this shape? It is a work in progress visual identity.