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Laffy Fatty is a super thick, unabashedly kitschy display face.
This is off one of a series of industrial information posters from the communist era in Hungary that I bought in Budapest a few years ago. (The other posters have different typefaces, ranging from Gill Sans to Helvetica and a few more more-or-less interesting ones I can't identify, might post them later if there's interest.) The text reads: "do not touch the oxygen flasks with oily greasy hands". Design in Hungary was good but tended to change less with the times, therefore the very wide time range.
I've photographed, cropped, cleaned up and tried to straighten this as best I could, though it's still a bit warped. Whatthefont turns up nothing. Any ideas? Some of the letterforms are slightly awkward (especially the g) but overall I like it a lot.
Could you identify the font used in this headline?
(I'm sorry but I don't have better quality image, in the original image the edges are straight)
Than you for all the hints.
This is a font ive been working, is inspired by the amazing "Mostra" from Mark Simonson. I wanted a font with a old feel to use on my vintage artworks and graphics, it started as a vector file that i use, but them i keep adding more characters and turned it into a real font. I would like to know the opinion of the people here about this font. Thanks.
I'm updating some fonts originally created in Fontographer 3.5. While creating the bold on some of the characters FontLab is misshaping them.
The first page of the attached PDF shows before, the second page after the bold effect.
Using the change weight in Fontographer also caused a problem unless I first used the "Correct path direction," which fixes the problem in Fontographer. However, after correcting the path and regenerating the Type1 font from Fontographer so it could be opened in FontLab did not help the problem in FontLab.
I've played with the various path tools in FontLab but have had no success. I'm guess there is something I'm missing that will fix this short of manually reshaping the character.
Any help is greatly appreciated.
We maintain a font for a client that we're moving to OpenType and they want to make the bold version a little heavier while we do this.
I can use the bold effect to get the glyphs to look the way I want them but is there a way to get Fontlab to expand the width of the character as well when changing the weight of the glyph? Seems like this would be a basic function but I've not yet found it.
I imagine with Python I might be able to script something to "record" the bearings, adjust the glyph weight and reset the bearings to what they were but I've NO idea how to even begin using Python.
Any suggestions would be greatly appreciated.
Here are samples of Greater Albion Typefounders' latest two releases, which have just launched on myfonts.com and fontspring.com.
Paragon is a display Roman family of nine faces, combining elements of formality and fun. It embodies a high degree of contrast between near hairline horizontal strokes and bold vertical strokes. The family is offered in three widths and in regular, small capitals and title faces. Use Paragon to lend impact to your next design project.
Hi there. Looking to ID the fonts used in both "CONQUER" and "CANVAS" in this pic.
Thanks in advance for any and all help!
Trying to identify the type used for "Book of Majors." Sure it's something simple, but I just can't place it.
I've been working this font for a while now, and now that I've finally sketched out all the letters, I'd really appreciate some critique on the overall design of the letters before I move on to spacing/kerning/doing more weights.
In the design, I've tried to mimic several features of monospaced typefaces, keeping the typeface condensed, however allowing wider charecters like m, M, w and W.
I guess its not a good thing that I created the Bold weight first, but I guess a way to make it into a whole familiy would be to make a Light weight, and then use interpolation to create a Regular weight.
I hope you'll like it, but please do not hesitate to point out the weak parts of it.
Thanks in advance,
I´m designing my first typography and I would like to listen to experts opinions because Im planning on presenting it on a type expo.
Thanks in advance , Looking forward to read you comments.
Over a year ago I started thinking of new font names, er...a theme of different font names for a different family of different styles :P At last, Beefcakes is in the final stages and is scheduled for release on August 20th, w00t! It is the first of the "Cakes" series, a collection of display fonts inspired by various brush lettering styles. The series will include Beefcakes, Babycakes, Hotcakes, Paddycakes and Sweetcakes, and as each typeface is unique (not to mention time-consuming to draw!) they will be released as they're finished...
Beefcakes, Babycakes, Hotcakes, Paddycakes and Sweetcakes are trademarks of Rebeletter Studios and may be registered under certain jurisdctions.
Caridade is a bold and powerful script face. It draws some inspiration from heavy brush drawn vintage hand lettering but its heavy weight is much thicker with plenty of impact and more contemporary letterforms. The face offers a wide array of weights, from the powerful Heavy weight to the graceful Thin.
Caridade can get the job done for many unique design tasks.
I'm in desperate need of this font for my wedding invitations. I spotted this font in an invitation suite by Mae Mae Paperie and now I have to have it!
Thanks in advance
Ode is a pleasant and vibrant family with a strong personality. It comes in five weights and is equipped with every feature a high quality text typeface needs: ligatures, extended language support and various figure sets as well as a fractions feature. Ideal for everything culinary
Find out more and try it out at
Read the (German) article about the making of on
Ode is a pleasant and vibrant family with a strong personality. It comes in five weights and is equipped with every feature a good quality text typeface needs: ligatures, extended language support and various figure sets as well as a fractions feature. Ideal for everything culinary!
Find out more and try it out at MartinPlusFonts.com
Read the (German) article about the making of on www.designmadeingermany.de
Can anyone recognize this simple font?
Thanks in advance,
I have a client who loves Quilline Script Thin for her photoblog, but the font does not have a built in "bold" or "medium" weight feature. A sample of the font is posted below. Does anyone have a suggestion as to what might be a viable substitution?
Thanks in advance for your feedback...
In Quark 6.5, on Max OS 10.4.11, the bold weights of some fonts are not displaying correctly.
This issue is becoming too much to endure, and getting InDesign isn't an option.
Any advice or suggestions are most appreciated.
I've wiped the jaws folder, and that hasn't helped. This is how they appear in font lists.
Font Book list:
I'm pleased to announce five new fonts for sale on MyFonts.com:
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TypeTogether is proud to introduce Rue Display, an organic, casually ornamental, narrow-faced sans serif designed by Winnie Tan.
Rue's spirited and exploratory design is the materialization of a feeling about fonts as a family of organisms taking on a life of its own, in work and play. It was conceived as a typeface, used as an image and discovered as an ornament.
It comes in 10 weights of light, regular, medium, semibold and bold, each with italics.
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I came upon this nice typeface and, as usual, WhatTheFont was useless. Anybody know what it is? I really like the a, c and d.