transitional

I just wanted to show you a new typeface I started as a little break on a different typeface I'm doing for a client.

It started with an idea on a certain flow of lines within the /a but quickly thereafter I removed the terminal and created this sort of naked serif typeface.

I like the a, b, d and r in particular (which is not to say no more adjustments will be made though) but I'm rather uncertain about the /c and and /e as they're perhaps too classical. I suppose with this typeface I essentially want to bring a few classical/chirographic aspects and think it through to a logical, modern conclusion. I feel the /o could be wider but I will have a closer look at that when doing more elaborate text samples.

Any criticism is welcome.

Hi everyone,

I'm working on a project which needs italics with a little more oomph to them, and I'm looking for something in the transitional or modern forms. My point of departure in this search is the new Didot Christian Schwartz and Paul Barnes completed for Vanity Fair. According to their own blog on the commission, the drawings they built their didone from revive a specific letterer's cuts: Molé Le Jeune.

The style known as Scotch Roman is considered as a modern face.
But if you look closely at the design of a Scotch Roman, it appears it has the bracketed serifs of the transitional faces.
Modern faces in the Vox-AtypI definition are called Didones meaning Didot and Bodoni. These two types have hairline serifs.
Punchcutter Richard Austin who previously worked for John Bell and gave him transitional types was the creator of Scotch Roman.
I observed some specimen of Scotch Roman that have the high contrast of the Didones.

What is your view on Scotch Roman inside the Vox-AtypI category system?

Hello typophile community, I would love any advice and criticism that you might offer regarding my first font. I intend on using it to break into the type design industry and have been tweaking it constantly. I think the time has come for other, more experienced, eyes to have a go.

Over the last year or so I've grown quite interested in (roughly) nineteenth-century face styles around the Bell, Oxford/Monticello and Scotch Roman evolutionary tree. For a while now I've been working on designing a typeface based on some of the ideas I've had along these lines.

W.A. Dwiggins famously set out to tame Scotch Roman by blending it with modern features from William Martin's work, resulting in Caledonia. I wanted to try moving in arguably the opposite direction: exploring the possibilities found in Scotch's immediate precedents among the transitional types.

This is what I've come up with. I took some basic ideas from Scotch and Bell and tried to create something with a crisp and rational structure but a touch of nineteenth-century ornamentation.

Hi all, just hoping you could help me out here.

I'm making a type specimen book for my sophomore portfolio review and I'm trying to find distinguishing characters for twenty typefaces. I've been having some trouble finding information on some of the typefaces, so I turn it to you. I need at least 5 distinguishing characters for each, preferably in Roman or Regular, and why they distinguish the typeface. I'm thinking that I'm going to use Q in all of my designs, because almost every Q is different and special. I just need help with the why it is special and wording it appropriately.

Typefaces I still need information for:
ITC Cheltenham
Berkeley Oldstyle
Interstate
Minion

Hi all, just hoping you could help me out here.

I'm making a type specimen book for my sophomore portfolio review and I'm trying to find distinguishing characters for twenty typefaces. I've been having some trouble finding information on some of the typefaces, so I turn it to you. I need at least 5 distinguishing characters for each, preferably in Roman or Regular, and why they distinguish the typeface. I'm thinking that I'm going to use Q in all of my designs, because almost every Q is different and special. I just need help with the why it is special and wording it appropriately.

Typefaces I still need information for:
ITC Cheltenham
Berkeley Oldstyle
Interstate
Minion

Hello everyone. I am a novice in type design aiming on making a serif (and if possible, a sans-serif companion) type system aimed at newspaper use. I am still in development, and I am looking at some other fonts that look great on print.

Lawson's book has piqued my interest in this typeface, originally known as Binny & Ronaldson's Roman No 1. Does anyone know of a digital implementation? I can't find any on MyFonts or through Google.

I'm aware of Monticello but I understand that's more of a derivative (like Sabon is to Garamond) than a direct adaptation.

Hey all!

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.

Regards,
Nathen.

First spotted here in an article for Gemma O'Brien on LetterCult.
I don't know whether to describe this as a slab or transitional serif, either way I'd love to know what the name of the actual font is.

Any ideas?

You may recognize this as being the First Edition of Moby Dick printed in New York 1851. I am hoping to source typefaces that are from the period that have a very close DNA.

Monotype Modern seems like a logical relative but I cannot find anything condensed/compressed enough.

Your help on this is greatly appreciated.

i-o

P.S. Please omit the conjunction "OR," from your type identification.

P.P.S. My apologies if I am not using the word "Transitional" properly.

Hi,

I've just got a bit confused on how to spot Humanist, Transitional and Modernist typefaces?

Can anyone help me out on what to look for please?

I thought I knew how to tell, but when it came to it, I just completely forgot.
I keep thinking it's something to do with the angle of letters and how geometric they look??

(if you get your info from a website can you link me please as I need references, thanks)

thanks in advance anyway

Finally I have decided to publish the fruit of my labour on MyFonts. The result for now is yet another version of Baskerville Old Face but with the added suffixes ”KTKM” and ”Display” (Baskerville Old Face KTKM-Display).

I wanted to improve the contrast between thick and thin, reduce some ink-traps and give stems, serifs and links a smoother overall feel. I have also added some alternative letters, ligatures and old style numerals.

Feedback is highly appreciated.

Best regards,
Kristian Möller




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