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Pétala Pro gave his first steps almost ten years ago. During this time, the quest for perfection had forced several interruptions. It was necessary recalculate the route, tread other ways, discover new maps, and make easy curves. After all, a new milestone on typeface design was reached.
Pétala Pro combines readability with a gentle but strong personality. The smooth and balanced forms shares space with expressive ink traps. The 18 styles of the family – from Thin to Black – allow the flexibility needed to complex design briefs. When designing the different weights, rather than automated solutions, subtle adjustments were made to value the optical qualities of each style. Such care, makes all the difference under extreme conditions.
Recently I came upon a typeface class called, Realist(you guys have probably heard about it). Is it the same as Grostesque, because I saw it used for typefaces such as Akzidenz and Franklin Gothic. If not, can you please tell me about some of its characteristics.
I basically know(I think) all the general classes but can someone list them and their defining characteristics.
Hi! I'm new to the forum, so thanks for helping me out. :)
I'm looking hard for a font family for a new website project that is very similar to Museo Sans, but that is a little simpler like Avenir Next. I like Museo Sans because it has some personality, but I like the simplicity of a geometric sans like Avenir Next. Futura is way too geometric and "Intro" font is too stylized.
London based FontSmith has released the new sans serif typeface Emeric. It is a strange animal, part humanist sans serif, but with very geometric shapes, and yet not a grotesk.
I have mixed feelings about this typeface.
For one I applaud the fresh approach and the absolutely distinctive and original character. Fontsmith has definitely created something new with its own, unique expression. On the other hand I feel that character has been taken too far in some ways, particularly with the lowercase letter a, which looks a bit like an accident, or the lowercase g, with its squashed lower bow ending, creating a blotched joining between the upper curve of the lower belly.
I just released my first font in MyFonts. It's a text sans. If it makes success, I'll make a Cyrilic. Hope you like it! Here is a description:
Inspired by Italian Renaissance fonts like Poliphilus, Blado, Centaur and Arrighi, Lucca presents a simple charm and a powerful classic feel. It is cute, friendly, clear and superbly readable.
Its low contrast provides Lucca a firm yet flexible substance, making it sensual and enticing. There’s a certain degree of abstraction in the precise endings, and the whole design was made to survive even in the harshest conditions, conserving its readability and beauty.
I am looking for a little help. I have just started in a new job leading the interface design for a digital publishers. They have asked me to take a look at the brand collateral with a view of updating it all in the near future.
Currently their logo is lowercase bold Trebuchet, which I find ungainly and a bit ugly.
I was hoping that I could get some suggestions for typefaces that are sans or humanist, so some character, not too formal, but also not too quirky.
Any suggestions gratefully received!
The corners appear to be rounded, but I am trying to fit the S and A.
I looked at FF Clan,Linotype Agilita, FB Stainless but I can match the width and height of the S and A.
I found this specimen on an old Vogue magazine cover from 1936.
I'm mostly interested in the humanist antiqua at the bottom (please scroll to the right), but if any of you guys would identify the ones above I would de more than happy.
Keep up the good work!
I'm researching about Seravek type family. I woud like to read some reviews. Do you know an avaiable review to this type family?
I was meaning to post this in late May / early June, but it's been a crazy summer. I graduated from the University of the Arts in May, and since then I've adjusted to my first full-time design job while taking some time to enjoy the little things in life.
Anyhow, I was fortunate enough to take Font Design Lab under the brilliant Mike Abbink last semester. I developed a Humanist sans serif titled Agio, and I'd be interested in any feedback or criticism that you wise Typophiles are able to impart. I'm not sure where to go from here...keep tweaking? Develop a bold weight? Discover the maddening thrill of kerning tables? I'd like to start on a new weight, but I'm sure there's room for improvement before I go ahead.
Is anyone able to identify this clean geometric humanist type face I found recently in a catalogue, it has a Futura thing going on but not so tight.. any help would be greatly appreciated:
Thanks in advance :)
I know this is a basic one, but can't seem to figure out what it is. Thanks for the help everyone.
Hi, can anyone help me identify these two fonts? Thanks!
apologies for the small image. any help with this is appreciated. i should know this…
Hi can anyone help me identify this title font from the Horniman Museums (South East London) display cases?
I'm working in a humanist sanserif, i've been doing some sketches and now i have four ideas, but i'm not very sure wich would be the best choice for further developing.
My new project, a compact, solidly constructed realist sans serif that draws its influences from Germany.
It's only got one weight right now (hopefully over time I'll make this a large font family with 6 or 7 weights). I'd love some help getting the rhythm and consistency just right. I can spend hours just focused on one glyph, so it's hard to remember sometimes how crucial rhythm, weight and color are as well.
I just built it from scratch in 48 hours, but any input would be much appreciated!
! UPDATE (2/21): New pdf here!
I recently designed a logo for my brand, using hand lettering as oppose to some kind of typeface. Here's what I've got (feel free to point out any rough spots you think might need refining):
Just released Cabin, a humanist sans inspired by Edward Johnston’s and Eric Gill’s typefaces, with a touch of modernism
Free, and available as a Webfont in the Google Webfonts Directory.
Spacing & Kerning by Igino Marini's iKern service.
Hi There typophilers,
New time poster/ long time admirer of typophile from Brighton UK here attempting a typeface based on a logo i designed for our company - a design studio called Filthy in the UK. Attatched is the filthy logo, which is to be printed in a black foil and embossed, but for the moment i have added some lighting effects to give you the idea of the final outcome. Here i am attempting to create a typeface that is of a heavy weight and resembles latex when used as a logo (mirroring the Filthy theme).
New time poster on typophile from Brighton UK here attempting a typeface based on a logo designed for our company - a design studio in the UK. Attatched is the typeface which is to be printed in a black foil and embossed, but for the moment i have added some lighting effects to give you the idea of the final outcome. Here i am attempting to create a typeface that is of a heavy weight and resembles latex when used as a logo.
I have developed the typeface for a mailout and am now extending the face into a full working typeface. I believe it could be fairly interesting when completed. The face uses influences from rhythmic calligraphic stokes and from heavy weighted Caslon faces. I have added a humanist element to the face as well.
Can you help me to find this font ?
With love, R.
Any help on this one? Should be fairly basic but I can't figure it out!
Thanks in advance,