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I am looking for a serif typeface along the lines of Marlene (http://www.typonine.com/fonts/font-library/marlene/), that has a large family which includes stencil cuts. I am working on an online magazine layout and would like to implement the stencil version as a hover effect for links.
The foundry selling it should therefore be able to host the type (have a web version).
Newbie here, I'm generating a font with Fontlab 5 (on a mac) and I'm having a lot of problems using my font in Microsoft applications. Specifically, the font is available for selection in MS software but I cannot choose between the regular and italic version of the font; both of them have a "check" to the left of them and only the regular version of the font gets displayed. I've generated / installed them as both .ttf and .otf files with the same result.
Using Adobe Illustrator / other software I'm able to access both the regular and italic versions; the problem is MS applications. I've looked at these forums and have seen some posts specifically about generating fonts for MS applications and have followed the instructions but it hasn't worked out for me.
Selektor Slab is small font family created as logical extending of the Selektor font family.
Available or it will be soon on:
Hi! I'm new to the forum, so thanks for helping me out. :)
I'm looking hard for a font family for a new website project that is very similar to Museo Sans, but that is a little simpler like Avenir Next. I like Museo Sans because it has some personality, but I like the simplicity of a geometric sans like Avenir Next. Futura is way too geometric and "Intro" font is too stylized.
“Kamenica” - named after a beautiful small mountain river in Serbia - is a font family containing 3 weights: Light, Regular and Bold.
The Kamenica river is only a few meters wide. Mostly shallow and cold, clear and green, it was the direct inspiration source for the creation of this condensed typeface. As our other typefaces, “Kamenica” also combines traditional shapes with modern forms, tall x-height and a collection of more than 300 glyphs.
Comparing the river with the font, we could say that letters are the fishes that lives in the Kamenica river and that the font weights are the seasons in which this river shows most of its own character.
Find out more at: http://www.tourdefonts.com/font-catalog/kamenica/
I'm working on a logo and need some help identifying the right font to use.
I'm looking for a sans-serif font with soft rounded edges, preferablly something with a single-stack lowercase "a". I like the humanistic qualities of Avenir but obviously this font isn't rounded.
I also like the style of the font in the new esurance logo, which I have attached below.
Fonts that I've considered so far include:
1. Comforta (although I feel like it's almost too rounded).
2. Museo (getting closer but some of the elements remind me of an old typewriter font).
Any suggestions would be really helpful. Thanks so much!
This is a simple little tool that will help you plan the stems weights values across a 9 styles family.
Input your thinnest and boldest stems values, and it will show you a wide range of possibilities to get you started.
The first column will provide steps of equal size.
The last column will provide progressive steps.
The 3 columns in the middle will provide intermediate steps.
You can use this values as a starting point to plan your family.
Introducing our latest font family called "Vezus".
Includes Light, Regular, Bold and Black weights.
Find out more on:
Available from (during the week in most of the shops):
I am 99% finished with the Preto Sans and Preto Serif family. Now I am working on Preto Semi.
It is an experimental text type, where I am working with serif, changing their function and trying to create a "better sans with some contrast". The serif is placed on the position, where it is logical to fill empty spaces (making the color of the text more even), or when the thin lines need serif to balance contrast, or serifs are placed on end strokes.
Look at the pdf in the attachment.
What do you think of it?
This is Suba, a sans family that I'm developing. I want to do a interpolation. But I'm not sure if I should draw the regular weight to do it.
And the italics, I'm not sure about it. Thanks for you feedback.
On 7th May, we'll make small internal celebration for our 3rd birthday since we published our first font family under our label – Tour de Force Font Foundry.
We would like you to suggest one our font family that you'd like to see with discount 50% off!
The list of font families can be found here:
Place your vote on Twitter (https://twitter.com/#!/tourdefonts) until 4th May, we'll count them all and choose the one most voted and make it available for the 7th May only.
We'd like to thank all nice people we met (mostly online), experiences they shared, things we learned and all our old and new customers.
Hey Everyone– Here is a project that I am working on and I wanted to see if anyone here sees any subtleties that I might have overlooked or if anyone had any feedback. The whole thing is hand lettered and started out as an italic but was converted to a upright script.
The top one is my final and the other two are just to show my process.
Is there any way in FLS to copy or duplicate hints from one .vfb to another?
I have a regular and italic weight and I'd like the hints to be the same on the italic minus vertical hints. It would be nice to not have to do it all manually.
(This is with Type 1 hinting)
we made a script for automatic font family naming in FontLab and I want to share with you.
I work as an in-house designer, and I'm trying to standardize our font library. There are many fonts that have multiple weights and widths that show up individually as families, instead of all in one family with the weights/widths as styles.
A new family has come
A new pair of serif and sans
For cold assertions to warm anecdotes
Designers heed these words
A well-yoked posture will prevail
Typographers alike, mind this
No more Morisonified faces
Will scourge the surfaces of their pages
For a Garalde, and a new take on Gill
In lieu of the committeed crumbs
A fully-formed featured font
Most discussions of methods to make bold letters use sans serif letters as an example. Since one of the great virtues of FontLab interpolation is that it preserves curve quality and character, I decided to use a serif example that includes curved stems and very irregular forms: Adobe Jenson Pro.
The first thing to do is to put the original outline in the mask layer (default Ctrl+M on Windows). During interpolation, FontLab will display both the result of everything you do and the original state, but having the initial glyph shape in the mask allows you to maintain a visual reference through multiple interpolation passes.
A typeface family is a set of typefaces released under a common trade name that differ in weight, width, inclination, optical size and character sets, but belong to the same stylistic class because of some common design characteristics such as stroke modulation and treatment of serifs. Helvetica, Times, Palatino, ITC Stone Sans, ITC Stone Serif, ITC Stone Informal and ITC Stone Humanist are all different families.