humanist

small x-height serif fonts

Hello All,

I am looking for a free small x-height serif font that has the minimum printing space usage characteristics of Linden Hill but is a regular serif and not a slab serif.

I would also like to know if it is possible to design fonts using a computer instead of manually drawing them on a drawing board. If it is, what are some good application programs to use to design fonts.

Thanks for any feedback you can provide.

Jim Williams

My first sans serif font – some feedback? :)

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This is my first sans serif font. I actually send it for the insentive program of TypeTogether but my project wasn't choosed :(
After that, I think some feedback can help me to catch the problems i didn't see before.
Thany you all! :D

Link on behance: https://www.behance.net/gallery/16049109/Gro-Typeface-soon-

Children's magazine body copy font

Hello, I'm looking for a highly legible font for use in body copy, cutlines, and possibly heads and sub heads for a children's magazine (ages 9-13).
I need a contemporary and friendly look . Must be easy to read, and have some character while being the neutral font to some animated display fonts.
The magazine content is science-oriented and educational, packaged in a cool, entertaining way.
Definitely not stereotypical (no Clarendon, or New Century Schoolbook as much as I like them). Because the magazine includes both genders, and softer, human content, I don't want a cold. science-y looking font.

Searching for the Jenson look

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I am trying to find a way of achieving the same colour, evenness and strength that Jenson conveyed, for instance, here:

http://en.wikipedia.org/wiki/File:Jenson_1475_venice_laertius.png

I appreciate that there have been many digital typefaces inspired or informed by Jenson and I’ve tried some of them – Adobe Jenson, Arno, Legacy Serif, Centaur – but somehow all of them create a very different feel on the page.

I have been trying to put my finger on just what it is the 15th-century Jenson has that the modern typefaces don’t and just what it is that I find so attractive about the 1475 sample.

Pétala Pro Superfamily by TypeFolio

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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.

Typeface Classifications ?

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.

Thanks

Fonts similar to Museo Sans

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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.

Emeric or emetic?

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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.

Lucca: lovely humanist sans

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Hi Folks,

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.

Humanist/sans suggestions please

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Hello Typophile,

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!

Frank.

Agio (my first typeface)

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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.

Edin

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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!

Cheers,
TB

! UPDATE (2/21): New pdf here!