As Types Grow Older – Re-Release of Grimoire and Sadness


My very first typefaces Sadness and Grimoire have just been published in new and revised versions at Myfonts. After the tragic end of the established Fountain Type Foundry I had to ask myself the following question: Is there still any justification for the existence of my 20 year old fonts?

by Felix Braden

Script Typefaces & legibitity, a research about the viability of script fonts for body text


Hello Everybody.
My name is Javier Rosa, I am from Barcelona. I am both a graphic design professional and student. Currently I am working on my final degree project.
A week ago I've sent emails asking some information for that project to relevant people in the script typography field. One of this relevant persons, Bas Jacobs, suggested me to post a message in this board, and I thought it was a good idea, so here am I asking for your help.
This project is a theoretical one, developed in basis of a hypothesis. I personally have decided to focus the paper on script typography. The starting point of the work is the hypothesis below:


Hi! I'm not sure if this is the right forum for my font, but it seemed the right choice. I developed two variants. In the regular one, glyphs connect to each other only in specific locations. In the C(onnected even more) version, some connections were added, some possible ones were still left out, though (like the /o), because I didn't want to mess with it and wanted to maintain a more natural flow iynwim. (And for another reason, I don't have the right tools to implement OpenType goodies and all). And the excuse for keeping some letters separated that I came up with for myself was that this way it looked more alien, rugged and original.

New: HapticScript family by Henning Skibbe


The HapticScript family is a connected brush script with a warm, personal and soft character. The typeface family has five styles from Light through Black. It was designed as a companion and extension to the Haptic sans-serif family.

HapticScript has up to 14 variations for each glyph. The almost 2,000 characters per font including 40+ ligatures enable designers to give each word an individual look. Many swash characters for initials and word endings make words looks as if they were hand lettered.

Five Styles: Light, Regular, Semibold, Bold and Black

OpenType features: Ligatures, Contextual Alternates, Stylistic Sets, Old Style figures, Tabular figures

Theatre Company

Hi, everyone!

I was assigned to design a logo for a theater company. They are producing their first stage play by now, so they are putting a great importance on the logo. It is called "Gentes", which is an unnatural plural of the collective word for "people" in Portuguese.

What sets them apart from other companies in Sao Paulo is that they are going to produce original musical theater, with brand new books and music. Most of the other companies go the other way round: their work is either Broadway musicals barely translated to Portuguese or jukebox musicals telling the stories of some important Brazilian artists.

Font Pairing and Handwritten Type

Hello there! This is my font called FUSION SANS. The idea behind it was to pair up with the font called Sharik Sans (which is the font I used to write out Fusion Sans). It's main purpose is to be in body copy on packaging for the Fusion brand. I wanted it to look simple, readable, but still pleasing to the eye.

Do you think it pairs well with Sharik Sans? If not, do you have any suggestions?

What do you think about the spacing on my test words and do my letters work well together?

Thank you all!

Revolutionary Script and Typography

¶ While reading again Fred Smeijers' Counterpunch, the author stated that the humanistic writing was a philosophical trend and therefore an artificial form of writing by breaking a cycle and by returning to an ancient era. You may assert that the humanistic writing was the first attempt of post-modernism.

1. Was there another post-modernistic attempt before the·Quattrocento·with a breaking point?

2. How would you consider William Morris' typographic leaning of going back to the humanistic origin? The second post-modernistic attempt?

Mangerica & Genica


Hi Guys,

Just want to share my latest releases.


A sans serif, fresh and summery, tried to mix different influences (humanistic, script, geometric) into a consistent look


A sort of brush display font, tryed to convey a happy feeling on this one too


Fontlab, I need a better solution for Ligatures


First, I’m kind of new to this.
I’m about to create a Script font and I have some problems with the lower “r” and the other lower glyphs connected to it.

Am I supposed to do a ligature for every lower letter connected to the lower “r”? That sounds weird.
When I look at my script fonts installed on my computer there are no big amount of ligatures.

There must be some other solution to it.
When I look at fonts on MyFonts, like Ciao Bella, there are no ligatures for the lower r but when I write it in the “Sample text” field there is a more accurate connection between the lower “o” and the lower “r” and the “e” and the “r” and so on.

Any smart and simple solution to this?
Please help me.

Thank you.

Discetionary ligatures in display font


Hi all

I am designing a display typeface in Fontlab. It has substitute ligatures for pretty much every letter combination (like A_A, A_B, A_C...etc). I want to put them all as discretionary ligatures. The code at the moment looks like this:

feature dlig {
sub A A by A_A;
sub A B by A_B;
sub A C by A_C;
sub A D by A_D;
sub A E by A_E;
sub A F by A_F;
sub A G by A_G;
sub A H by A_H;
sub A I by A_I;
sub A J by A_J;
sub A K by A_K;
sub A L by A_L;
sub A M by A_M;
sub A N by A_N;
sub A O by A_O;
sub A P by A_P;
sub A R by A_R;
sub A S by A_S;
sub A T E by A_T_I;
sub A T I by A_T_E;
sub A T by A_T;
sub A U by A_U;
sub A V by A_V;
sub A W by A_W;
sub A X by A_X;
sub A Y by A_Y;
sub A Z by A_Z;

Resources on History of Script

Hello all! I'm pretty new to the world of type, and I want to get into hand-drawn lettering. It's been suggested that I study the history and evolution of scripts, from how they descended from italics and the flexible reed pen, to how swashes change over the centuries. I'm currently reading "The History and Technique of Lettering" by Alexander Nesbitt, which I'm really enjoying. However, the book covers a ton of information in a fairly short amount of pages, and there are some ares which I'd like to explore in depth. One being the history of Dutch writing master Jan van den Velde.

Italian espresso typography

I am currently working on a project to identify a kind or style of typography that is used for a specific application or has a cultural association. I am working with the use of interlocking or connecting letterforms and scripts that often appear in Italian industrial design but specifically on espresso machines.

Font Recommendation: Inky Script

Can anyone recommend an inky, messy script that they like that might be in the same vein as the stuff in the attached? I know they’re not hard to find, but ideally I’d like to find something more robust (i.e., includes numbers, has alternates, etc.) than the random stuff on DaFont, etc., so I thought I’d see if anyone has a favorite they’ve used.

Fontlab output errors


Hello, I'm working on a custom typeface for a Dutch design company and I just came across some problems I have no idea how to fix. Here's a part of the error messages I get:
[WARNING] Use of DFLT tag has been deprecated. It will work, but please use 'dflt' instead. [C:/Users/Martin/Documents/FontLab/Studio5/fontlab.fea 48]
[ERROR] If you don't want feature 'cpsp' registered under all the language systems you specified earlier on in the feature file by the "languagesystem" keyword, you must start this feature with an explicit "script" statement [C:/Users/Martin/Documents/FontLab/Studio5/fontlab.fea 84]

Multiweight script families - Help with PhD

Hello everyone,
I am currently writing a dissertation on type technology, focused on developing a workflow for creating multiweight script/cursive families utilizing Multiple Master technology and some Metafont/Metapost techniques. To be more precise my objective is help the designer in creating calligraphy and brush scripts – of the kind which weight cannot be just changed without complete redrawing (you can’t just move stems around).

Jim West Schrift

Not the best image to show my own version of this weird but beautiful script style, inspired on 1883 James West "Hoyt Script", here I just try to do a very wide range of alternate gliph designs, and hope to have some digital examples to show all of you here or anywhere.

Any kind of criticism are very well welcomed.

Script wanted – Polish language support

Dear all, does anyone know about nice script typeface, alternative to Lavanderia that would work in Polish? Good or at least acceptable diacritics required, and readable version of digraphs used in Polish (rz, cz, sz), like those in Liza.

Most of the scripts, I have found, use "z" with the bottom loop and the script version of the "r" (like in Feel Script), which is not always readable in Polish.