Welcome to Typophile
Please Sign in.

font design

Examples of how meaning has been embodied into past typeface designs

I’m currently researching into how meaning has been embodied into typeface designs. I’m looking for typefaces which have an extensive and purposeful meaning behind their designs. Sufficient enough to write a thousand words about.

I need six case studies in total, so far I have Times New Roman, Capitolium, Johnston and Quantange. All of which I believe have enough existing research and theories into why and how they have been designed in the way they were. Ideally I need two more.

I posted a brief similar question to this many months back during my initial research phase. I was sent in the direction of Nick Shinn and Jeremy Tankard’s work, and FUSE, and they all really helped a lot.

Typeface design help with tools and litrature ...


Dear Typophiles,

I'm currently considering embarking on a typeface design project (just for fun). I could do with some advice:

1. Could any books be recommended that detail how to draw type?

2. What tools would I need to initially hand draw type? Is a pica ruler useful and would I need a set-square/protractor/compass etc.? I would really love to know of any tools that would be particularity useful for hand drawing/designing a typeface. My eventual aim would be to digitise it should it go well, but for now I'd love some advice on books and tools.

With thanks in advance.


Has late 20th-century technology had a positive or negative impact on the proliferation of Typefaces?

I'm currently working on a thesis that discusses the impact of late twentieth-century technology on the proliferation of typefaces. It would be a great help if you would comment your opinion whether type design programmes, such as Opentype have had a positive or negative impact on the quality of typefaces designed over the past few years.

Beginner Type Design Workshops: Seattle, Dublin, Chicago, Boston


Besides the previously-mentioned Seattle workshop, there are coming workshops in three more cities! Cities, dates, instructors and hosting schools are listed below.

Seattle Sep 19–21 (Thomas Phinney, Eben Sorkin, special guest John Hudson, at Seattle Central Community College)
Dublin Oct 4–6 (Thomas Phinney, Dave Crossland, possibly Aoife Mooney, at Dublin Institute of Technology)
Chicago Nov 16–17 (Eben Sorkin, Octavio Pardo, possibly more, at Harrington College)
Boston Nov 22–24 (Eben Sorkin, Octavio Pardo, possibly more, at Boston University)

Single Line typeface


Hey all,

Still kind of new here so please excuse my amateur questions. But there's a couple things I'm wanting to do.

We do a lot of engraving on a router where I work. And this is mainly just me being curious. Is there a way in FontLab or anything other building tool, to design a single line typeface, so that it keeps the same stroke width through different point sizes?

For example, at 72pt, the typeface will appear thin, but when dropped down the say 6-8pt, the typeface will appear heavier. What I would like to do be able to do is start designing a font family for different size engraving bits, as well as Regular, Condensed, Expanded variants.

Seattle Type Design Workshop for Beginners Sep 19-21


The Crafting Type collective is bringing its intro type design workshop to Seattle! I will be teaching type design to beginners, with Vern Adams and Eben Sorkin (pending sufficient registrations).

Seattle Central Community College
Thu–Sat Sep 19–21

Full details on the Crafting Type site, but feel free to ask questions here as well.

Seattle details and registration:

What letters to start with?



I'm not a graphic designer by trade but I have decided to create my own font. I have been doing some research and initial drawing (see http://www.doppel-n.com) but I was wondering what letters I should start with in terms of "setting up" the alphabet. I imagine if certain shapes are settled they can be reused for similar letters. Help is very much appreciated.


FontLab Studio vs. Fontographer

This topic was discussed in 2005 but I feel is worth re-visiting since the recent release of fontographer 5. Fontlab has a comparison chart for their entire collection of software which can be located here http://www.fontlab.com/fontlab-products/compare/
I suppose my primary interest is with those who have used the new Fontographer.
One reason the program fell the way side, it would seem, was its lack of support for opentype which is now included in fontographer 5.