Modifying B into something exotic


As seen here, I've been modifying the B from Erato Light in an attempt to recreate this exotic letterform. I would like now you to be constructively critic on it. I'll be grateful for any suggestions.

The word Bruna is just a dummy. I've experimented a different R too, as a way of balancing the extra weight of the new B. Does that even make any sense? Opinions on it will be welcome.

Below, Erato Light, the modified B and the modified B e R, respectively.

Free Film Fonts


I have hundred's of film fonts mostly from the 50's 60's & 70's.
Remnants of a lettering company I owned in the past.
These fonts were used in hand setting lettering for headline use.
Same font size as Typositor lettering but are film positives for hand setting.
Used for many years they are high quality materials.
I would hate to toss them but I have no storage space.
The fonts are in nine boxes 10"x10"x10" and weight approx 8# each.
I would be willing to ship to anyone willing to pay the freight cost.
Please let me know if anyone is interested. Unfortunately I do have a deadline and need to get rid of them by the end of February. Thanks.

Attempt at drawing a typeface


Hello to all members of the forum,

I don't know where or how to start to introduce myself, but I have been following some of the forum topics with great interest. I am amazed everytime a forum member comments on a typeface for critique as I will see something that I would not have noticed before, and this proves that there is so much for me to learn here.

I am keen on typography, and my recent purchase of Robofont (without any prior knowledge of font softwares, neither experience in typeface design, so this is a first) allowed me to draw some shapes to be played around with as a font. I have no idea on how to use the software to its greatest effect, but I would like to start somewhere in learning how to design proper typefaces.

Hello to all Typophiles


Since this is my first post, I believe some introduction is in order: I'm Alexandre Ataide, from Brasília, Brazil, 29, single, Libra and unemployed. I love type. Well, maybe I love calligraphy more, but hell, who's to judge ones heart?

Now to business - I did that about 7 years ago, when I was graduating in graphic design. Was supposed to be used for signage. It's obviously very rough, but I would very much appreciate your opinion about the typeface. Please citique, criticise, flame, bash and/or troll to your hearts desire.



Ok, this is a brushy, cutesy, small-x-heighty, condensed display face but I want to keep it somewhat structured, lest it fall into a one-trick-pony category. Ligatures and alternates could be fun on this. My biggest concern has been getting the thicks and thins in the right places. (I've been looking at Franklin Gothic Condensed for guidance) I need some eyes on this...

Piquant 01

Filthy Black Italic


Hi all - Little update on what i've been working on...

Filthy Black Italic is a display typeface intended to be viewed at large sizes. Because of it’s heavy weight and distinctive small serifs the typeface is best used on headings and titles. Inspired by latex textures, many characters use rounded shapes to show off the fluid forms of the letters. Please do let me know your thoughts. Please see our site for more examples of work: http://www.filthymedia.com . Thanks.

First Typeface - Geometric All Caps


After developing an interest in typography over the last few years (I'm a web designer by trade), and plenty of sketching and practice with software, I've actually pulled together an almost complete set of alpha numeric glyphs.

It really is a simple beginning. A geometric condensed uppercase sans-serif, with no changes in stroke width, except perhaps for the 'X'. If anything it's been a great introduction to using typetool.

I struggled somewhat with the 'M' and 'N', however feel that these ended up on the right track. The 'V' is a bit of a concern, possibly too close to the 'U'. Also I find the 'B' lacking.

I'd love to get some expert criticism. Your thoughts, comments and brutal honesty are welcome, and most appreciated. Is there anything I'm really missing the mark on?

Alexis: A Mid-Century Modern, Reverse Contrast Slab Serif


I'm a graphic designer by trade and working on my first typeface. I've been working on it for a little over a week now, so this is still very much a work in progress. I feel like I've gotten as far as I can go on my own, and I'm looking for critical feedback for things that don't look right or are not correct.

Thanks in advance.

Antechamber Redux: Total Redesign


My last post on "Antechamber" was a bit premature; I knew I wanted to create a somewhat neutral, condensed display face, but the first attempt was way too generic.

This new take on the face is much heavier and stronger, with tiny crossbars on the /I/ (a la Bell Gothic) and stylized ink traps. As I said last time, this is a display face for use in the titles of an animation project that will deal with architecture, so I want to create a face that looks somewhat industrial, somewhat "machined", and very sturdy.

The heavily filled alternates from the last post are being left out for now. I want to get the basic alphabet as balanced as possible first.



I started work today on a display typeface specifically for use in the titles of an animation project I'm involved in. The theme of the animation is changing space in architecture, so I'm putting together a very neutral, un-stylized condensed face with heavily stylized alternates to sprinkle in.

The alternates are, admittedly, very crude and blunt, but that's the vibe I'm going for. There's a bit of a play on words in the name Antechamber, which usually refers to a smaller space leading into a larger one, but in this case can also be interpreted phonetically as "anti chamber", meaning the inversion of a region of space within each glyph (hence the blunt, solid fills in the alternates).

First font face "Hallo", Let me know what you think



This is my first font. Created from a 'grid'. I wanted to create a font where you can connect all the letters with each other. It didn't really became that but I continued working on it anyway.

The 'grid' is build from circles divided in four pieces. I added circles until I could make all letterforms. Vertical strokes where added but no horizontal strokes because this would removed the 'flow' from the font. (For the capitals I did add horizontal strokes but used as many curved forms as I could. This all resulted in the 'grid' (second image) witch I used to build all the letters from.

This is the result, any tips, feedback is really appreciated.
Download available under the post.

Cheers Heyman

Bellum Regular (my first typeface)


Hello all!

This is my first time posting here, but it is also my first typeface so I find it fitting.

Any critique would be great.

My intentions on this piece were to keep it modern and neutral
but designed and stylized by logic and reason.

There are many common negative and positive shapes throughout that keep it all together.
But I know it's not perfect yet and I'm still willing to alter it if need be.

It was a style choice to have a low x-height. I know for legibility purposes it's usually a little higher (not at 50% like it is here) , and at small sizes, it feels handwritten.

Also, I've had trouble with the / V/. I want it to be consistent but if anyone agrees, I might go back and look at it again? What do you say?



*** Images are from 1 version earlier. /T is now wider and /S straighter. ***

Still haven't decided about title.
What started as quick, for-fun, only-caps font, is turning out to be a multilingual family of 2 weights that could be counted as 6 fonts. Because there are small caps, swashed style and alternates for both of them. That's even not counting ligatures (for Cyrillic too!).
Plus manual T1 hinting.

Update 4 (2012/V/30)
http://cl.ly/H06i (Light)
http://cl.ly/H03z (Dark)

"Ma" a new stencil font


Hey Typophile

I have been fairly inactive for a while but we put our typographer shoes on a bit ago and have been dancing and working on a stencil font that would highlight the spaces in between.
We also realized that the space in between doesn't have a name. Some have tried 'pylon', but that just didn't make sense. We think " ma" works as its that non western idea of the palpable presence of the metaphysical; like the pause between two notes or the silence in the middle of a sentence for dramatic effect. This concept is imbedded in many cultures, why not a font.

Currently, we have only developed the "Ma" Caps at present.
We wold love to know what you think.
Without further ado.

Abraham, work in progress


I'm working on my second typeface, working title is "Abraham" for now. This will be a real big, bold and solid one, intended for display purposes.

I've been drawing these for a while in cards and posters and bookcovers for example. Here are some examples of previous use (these are all handdrawn but I'd like to make this into an actual typeface)

Here is a first preview of the basic characters:



Hello all. I am currently working on creating a typeface loosely based on a piece of hand-written signage I found on a recent trip to Thailand. So far, I have designed caps only, but I aim to continue and create a comprehensive character set. I guess I'm trying for something quirky yet elegant!

Any thoughts and criticism would be much appreciated at this stage.

Art Deco


I originally posted the sample on the ID Board and got a 'similar' hit with Xctasy Sans. The file is a first attempt and I'd like some opinions on:

  • Size: I started in Illustrator with the sample as a template but when I brought the characters into FontLab--even though I resized them by 600% to be almost 42 pt.--they're still a fraction of the default background shapes. What should I shoot for point size-wise?
  • Case/Alternates: Probably more of a personal preference but I'm not sure I'd like to see a l/c with this. Instead, I like the idea of alternates but unsure of where to place them on the char map in FontLab...?
  • Shape:
    -Unsure about the top-heavy B