This is my first post, so: Hello! I'm not a type designer by trade, but I've been interested in typography for 25 years. A few months ago, I finally bought Glyphs and started noodling around. I had no goal, and wasn't looking at any references, but what came out was this friendly blend of Avenir and Akzidenz, with capitals that are more upright and American. Somehow, the more I tried to remove my own hand, the more of a self portrait it became. Has anyone experienced that?
Anyway, it has already been a fascinating process, but at this point, I'd love some feedback. I'm open to any type of comment or critique. I have 3 masters so far.
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.
I'm asking for feedback on a project I've been working on the past 9 months. Everything started with the
[Bad link] course @ Poli.Design in Milan. In a group of three people, we recieved the brief of creating some typeface to be used in high-res starting from a typeface with a low-resolution.
I wouldn't mind a bit of critique on this, my first (more or less) digital typeface. It was intended as Schelter-Giesicke Grotesk meeting Helvetica with a dash of Bauhaus (Herbert Bayers "Universal", really), but so far it looks more like random Grotesk meeting Futura, but I like it anyway.
I lam curious to know who designed the original Azkidenz Grotesk typeface published by the H. Berthold AG Foundry in 1896. Gunter Gerhard Lange was not born untill 1921.
After almost seven years of putting it off the time has finally come to assemble a portfolio and stationary etc. Over the last few months I've been looking at a number of typefaces to use for 'branding' myself so to speak and have almost certainly settled on Akzidenz Grotesk Condensed Light and Regular.
The things I love –
The things I do not love –
I have made updates to the font family Hikari and started a discussion about the ampersand solution I came up with. Please feel free to comment and share your thoughts:
So this font was found on an old book. Having a real hard time trying to classify this font. I presume it's hand rendered with a calligraphic pen but i have no info on the origins or style of these letter forms. Anyone here got any ideas?
Before the Haas Type Foundry released Helvetica in 1957, constructivist sans serif fonts were classified as Grotesk, a term that reflected the dismissive notion of typesetters in previous times. It was Art Deco and the Bauhaus movement, along with modernist architecture, fresh ideas and stricter shapes in interior design, a style influenced by industrial and technological developments, that made Grotesk fonts more popular over time.
Does anyone recognise this Font? "KASPERLHAUS" and "KASPERL"?
I found this Grotesque and thought it must be Atlas from Commercial Type http://commercialtype.com/typefaces/atlas/grotesk/regular
But the numerals are not. – Any ideas?
Thanks a lot.
looking for a font combination for a web editorial project I'm working on (a magazine focused mainly on stories and opinion but also with short news, let's say in a 70/30% proportion). A sidenote: I'm not the graphic designer, guess I'm the "creator".
Since I spend most of my days reading, print and on screen, I really like looking at good typograpghy and even if I'm waaaaay far from being an expert, I'd like to choose a bunch of typefaces myself and then discuss with the graphic designer.
Anyway, I'd like to use a sans for titles/headlines and a serif for long text. The layout is clean, with colors and composition vaguely inspired to the 60-70s italian and european magazines, but It looks like a website, so It's not "old" or "vintage".
I'm looking for the little beauty use in these covers from Cake Publishing.
More views on
Any ideas ?
I came as close as Grotesk SSH-Heavy, but can't be sure.
Great exhibition, btw.
I became curious with this very neutral grotesque
looking at the sourcecode of the following site http://www.escola-aberta-rio.com/pt/#
i discovered that the font is called Mercator LB Regular, but i couldn' t find any font simillar to it in google, only a serifed from linotype that has nothing to do with it...
Radim Pesko is one of the teachers of the course of the site so maybe it is a guess...
Anyone have any idea where do i buy this font? Which Typefoundrie?
Thanks in advance...
Does anyone tell me what type of font is this?
it's far from finished:
the weight between characters is still a little uneven, and some letters i'm not sure about. i was thinking of scrapping the g and starting on a two-story g (along the lines of johnston, akkurat etc.)
i started by wanting to create a grotesque striped down to its simplest form by removing unnecessary terminals.
Is the type I've underlined in red Akzidenz Grotesk? If not, what is it?
New Release: GT Walsheim
In its heart GT Walsheim is a geometric grotesk, but it also has a certain handmade roughness engrained in its design. Based on custom typography by Otto Baumberger for multiple lithography posters from the early 20th century, Walsheim is suitable both for display and for text use.
Aargh - I've spent hours trying to figure out this font. It's the round 0's that seem to be the clincher. Anyone help?
I have been trying to locate the typeface used in Process Journal
Here is a pretty good image for ID:
It looks like a blend of helvetica heavy and akzidensk grotesk.
This is a concept I've had for a while, that I've only recently began to digitize. It started from the idea of an i, in which the principal stroke and the tittle form a diagonal slice. Here's my original freehand sketch:
I wanted to perhaps turn this idea into a legible gothic typeface with a high x-height, round, open letterforms, and ascenders/descenders/tittles with slanted, angular ends. Here it is digitized in Fontographer:
The lowercase letterforms:
At the moment, Thistle seems better suited for a display font (it could make an excellent logotype). It's surprisingly legible at smaller sizes (although much of the distinguishing slanted strokes and tittles become lost).