type design

Hi everyone!

I'm currently working on some type design for a flag for my thesis show. Both the sans and serif are bespoke. The high contrast serif was very loosely based on Times New Roman and infused with the Didone theme. While comments on any of the characters would be greatly appreciated, I am struggling with the numeral nine. Can it deviate from the vertical axis, reflecting Times? Or, should it conform to the vertical axis? (Both nines are preliminary as well as the metrics.)

Thanks so much!

Ludwig Mohr's picture

Ikarus system on Mac

I watched a DVD on Jim RIMMER, Type design in the 21 Century, put out by P22, and got intrigued by the Ikarus system he used, looks like OS 8 or such.

I cast on Ludlow, have a decent collection, but also have the equipment to cut mats and have cut mats for Ludlow to suit my needs.

Anybody has an idea if a system is out there?



Im a NY illustrator/graphic designer who is becoming more and more interested and obsessed with type design, typography, and logo design. My illustration skills certainly help propel me forward into territories of originality and detail but I am lacking some basic and more fine tuned type skills. I have been working in NY as a graphic designer for several years so I have lots of basic knowledge but I am considering diving into this new passion and going back to school for my masters in type design/typography/branding- identity design (if that is a real major). Does anyone have any suggestions for great programs in NY; both for continuing ed and also for a full masters program?

My order of Just Another Foundry's new book, Size-specific Adjustments to Type Designs, has just arrived through international air mail. Along with the package was a little specimen book of JAF's faces.

I haven't finished the book, but just want to ask if any of you have read it? Any thoughts?

This is my new typeface Turbine. It will be part of the fontfont family soon but I think it is still a lot of work to do. The idea is quite simple: A squarish grotesk with open apertures. I would be very happy to get some comments and suggestions.

long time reader, first time member and poster.

i teach graphic design and typography at a community college in southern ontario (carl dair's hometown, in fact). we are in the process of revising our curriculum and i have been tasked with doing some research into the type design component of our curriculum. i thought the folks on this forum would have some valuable and usable input into our process.

when i was at design school in the late 1980s, we had one minor type design project as part of our larger type design course (15 hours per week). but i wish that i had had more.

so, my questions are :
how much type design is appropriate/useful in a three-year graphic design diploma?
are there specific types of projects that you have found helpful in your own experience?


I'm currently working on a thesis that discusses the impact of late twentieth-century technology on the proliferation of typefaces. It would be a great help if you would comment your opinion whether type design programmes, such as Opentype have had a positive or negative impact on the quality of typefaces designed over the past few years.

Besides the previously-mentioned Seattle workshop, there are coming workshops in three more cities! Cities, dates, instructors and hosting schools are listed below.

Seattle Sep 19–21 (Thomas Phinney, Eben Sorkin, special guest John Hudson, at Seattle Central Community College)
Dublin Oct 4–6 (Thomas Phinney, Dave Crossland, possibly Aoife Mooney, at Dublin Institute of Technology)
Chicago Nov 16–17 (Eben Sorkin, Octavio Pardo, possibly more, at Harrington College)
Boston Nov 22–24 (Eben Sorkin, Octavio Pardo, possibly more, at Boston University)


I'm currently working on a final year dissertation on the subject of type design and the legal framework/ins and outs of utilising typefaces and fonts, and was looking to get some broad insights from people in the Typophile community.

The question is as follows:

Given the current commercial and legal environment for typography, what scope is there to simplify licensing to facilitate the broader use of type?

This is particularly with regard to having to stipulate all the font usages in advance when there are many unforeseen elements within the design process, and also a simplification for use by non-designers might help access a new market (purchasing as a commodity - essentially license free with the aim of reducing piracy?)

I'm designing my first typeface and I'm at the point now where I'm working on punctuation, math symbols, etc. The not-so-major stuff that's actually kinda major in making a proper functional font. The face is an early 20th century flared serif. It's very close stylistically to ITC Symbol Black and I noticed in researching Symbol as well as other faces in the same vein that there is a difference between the solidus glyphs and the mathematical slashes. It looks to me like many of these fonts are using generic math symbols that don't match the design of the rest of the font.

The Crafting Type collective is bringing its intro type design workshop to Seattle! I will be teaching type design to beginners, with Vern Adams and Eben Sorkin (pending sufficient registrations).

Seattle Central Community College
Thu–Sat Sep 19–21

Full details on the Crafting Type site, but feel free to ask questions here as well.

Seattle details and registration:

When the new font Nirmala was announced with Windows 8, one expected it to be better than Kartika, its unaesthetic predecessor with unacceptable shapes. But Nirmala Malayalam adds insult to the injury inflicted upon earlier.

Sample these:
1. One conjuct has a missing stem
2. Has a confusing stroke ending style
3. Invents a clumsy way to handle descender portions
4. Substandard design quality, no optical corrections or proper stroke modulation

Please see the jpg attachment for details

Did the type designer(s) consult some one who knew Malayalam? Or did they think whatever they design will be accepted by others? I had pointed out the design problems in Kartika years back, but from repeating the same mistakes and making it worse it seems the people concerned donot care.


why is – in most fonts – the backslash more slanted than the "regular" slash? Is there any reason?


Vrylyk's picture

My First Font: Leteske.

I have begun designing a new typeface of mine. It is my first font ever made and my first experience with FontCreator, so keep that in mind when critiquing.

I have a ton of concept work for many of the other glyphs, so I could scan them in and post them if anyone wants. I'd appreciate it if the time was taken to evaluate some of the other glyphs that didnt make it or are being saved for alternates and flourishes and whatnot. I plan on making this a full font. Including diacritics, dipthongs, currency symbols, etc etc. No cutting corners.

Here is the link to the project on behance.

I am currently a senior at the American University Dubai, majoring in graphic design. However I have a strong liking towards type design and I was wondering if anyone could recommend good type design firms to intern at.

I was and still am working on a typeface that I created for my senior project.

The typeface that I am working on is based on the Devanagri script however is an adaptation to the latin typeface futura. I have worked independently on the typeface teaching myself how letterforms work. I was determine to get my basics right and therefore flew out to India for 5 days where an Indian type designer ( Prof. Mahendra Patel) guided me as I had no faculty member on campus or in Dubai to help me understand the script and build my sensitivity towards letterforms.

To Whom I may concern,

I am currently a senior at the American University Dubai, majoring in graphic design. However I have a strong liking towards type design and I was wondering if anyone could recommend good type design firms to intern at.

I was and still am working on a typeface that I created for my senior project.


I am looking for sources and suggestions on creating a font that demonstrates habits. For my final graphic design project, I have to design a typographical bookjacket for "The Power of Habit." Briefly, it is about how habits have the power to control and reform the success or failures of businesses, transform societies, and change our lives. The reaccuring theme is how habits work with a cue that triggers the routine, and finally what we gain from it. (Think of a continuous circle, and how habits pick up power by happening over and over again)

I am trying to use a process that can guide my design solution, but am having a difficult time with representing habits in my type design. Any place to start, ideas and suggestions would be greatly appreciated!! Thank you!

I created this thread (re-directed from Tombstone typography in an effort to keep it focused) for people to discuss their different views on the relationships between calligraphy and type design.

For Immediate Release
Buffalo, NY / Two Rivers, WI

P22 type foundry and the Hamilton Wood Type & Printing Museum are proud to announce a partnership that brings 19th Century ingenuity into relevance with the latest online technologies. This joint venture, known as the "Hamilton Wood Type Foundry" (HWT), will see a large collection of wood type designs converted into digital fonts that can be used with the latest Webfont CSS and Opentype programming abilities. P22 is working with the Hamilton Museum and other collections of scarce printed specimens as well as actual wood type to render these classic designs into fully functioning computer fonts.


This is my sort of fun project that I started recently with a friend. Basically a daily glyph design blog.

I'd love to have some of your feedback on the design and how to make the blog better.



Alright so I'm quite new to the font design world but I'm working on a geometric sans (ala Avant Garde, Futura, and the like). I've got most of my glyphs made up and now comes the fun and hard part: spacing and kerning. I'm mostly interested in workflow, since a lot of you are quite experienced I figured I'd try to gleam some information from the veterans. Do you start by setting all your glyphs' side bearings to 0 and work out from there? Do you set all your glyphs to a certain width and bring them in or out? What's the best method?

Thanks so much for any help.

I just published a blog post about my awesome summer in the Type@Cooper Condensed certificate program at the Cooper Union in New York City http://www.kombinat-typefounders.com/store/news/article/cooperType_condensed_2012

We are finalizing a new Diwani font and we open this thread for discussion...

Samples from Aratypo Aisha Diwanee :

Please feel free to post any comment regarding this project...

Contact: aratypo [@] gmail. com

In conjunction with its exhibition Graphic Design: Now In Production, on exhibit in New York City this summer, the Cooper-Hewitt National Design museum had panel of 6 designers whose work appears in the exhibition. Each was asked to give a very brief—seven minute!—talk on a "Wicked Problem" in type design, with a panel discussion afterwards. Cooper Hewitt did a nice video of the event, which you can see here.

The six designers are Philippe Apeloig, Hubert Jocham, Henrik Kubel, Jeremy Mickel, Jesse Ragan and yours truly. Ellen Lupton and Cara Di Edwardo were the moderators.

I'm trying to get a handle on new characters that have emerged in recent years, which are important enough to show up in standard Latin fonts (western + CE accented). Also secondarily curious about anything relevant to Greek and Cyrillic.

The ones I know about are currency symbols, such as the new symbols for the Turkish lira (U+20BA, http://typophile.com/node/90604), and the Indian rupee (U+20B9). Older ones include the Ukrainian hryvna (U+20B4) and Ghanaian cedi. Are there others I should be concerned with?

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