Can anyone recommend fonts that are similar to Marian Bantjes' Restraint? In other words, fonts with characters that lock together and build pretty ornamental patterns and borders? Thanks!
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It's been a while since I've posted something myself here. I'd like your input on my latest font NOVA. NOVA is a solid grotesk font that has loads of wow-stuff under the hood. I've been working on it for about a year now, and I'm getting close to a semi-final version. I always liked typefaces that I can both use as a serious workhorse and for creative playing. NOVA has all that (imho)!
The ones who are following me on Facebook, Twitter or Flickr, have seen this font before and also reacted on it (very positive I must say). Here's one of the latest discussions about NOVA on Typophile:
I feel like I've seen this ornament hundreds of times, yet I cannot figure out what typeface it belongs to. I've tried various type id systems and none have identified it. Can anyone help? Much thanks!
So I just read in Bringhurst's Elements that the hedera is one of the oldest typographic ornaments, "present in early Greek inscriptions" (p. 311).
By any chance, can anyone point me to a photo of the hedera in one of these ancient Greek inscriptions? I would love to see it's use in the wild.
I keep coming across these flourishes but can't seem to find where they originated. I assumed they were Dover clip art since they have a vintage or antique look, but cannot find them in any of their ornament books. Perhaps these flourishes are a font... Does anyone know where these specific ornaments are from?
What do you think guys? Can this be universally understood for Electric Car/vehicle charging station?
Once again I have fallen under the influence of my fashion conscious teenage daughter, who tells me that I absolutely must produce more "shabby chic" fonts like the trendy scrapbookers and hip fashion label designers use. On showing her examples this turns out to mean more circus style fonts with wide ascenders and decoration. We did this dance once before the the Cascade font and she wasn't entirely satisfied. It was too Art Deco and not crude enough looking.
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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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