Two New Releases


Greater Albion Typefounders have just released two new typefaces on Myfonts.

Eccles is another of our 'Early Victorian' typefaces, a series we started with the Wolverhampton family a little while ago. It might be described as 'extreme-Tuscan' in style but has a delicacy that many other Tuscan faces seem to lack. It's ideal for giving design projects a clear period feel, particularly in design and advertising work. We also see it haveing considerable application in preparing invitations to a certain type of happy event. At the other extreme, some of our younger associates have described it as 'your latest Steampunk font'. So perhaps we'll just have to settle on it having a split personality...

Argon (working title), with Thai


Following Hrant's request, I'm happy to post Argon here for some crit.

This was one that I drew in my sketchbook whilst travelling. I wanted to explore what would happen if black and white shapes became somewhat disconnected. Counterforms are made of perpendicular straight lines while outer edges are wide superellipses.

I wanted to try my hand at Thai glyphs, so added the main alphabetics — a few vowels and tone marks are missing for the moment.

Think there's already a font called Argon, so any name suggestions also welcome ;)


EDIT, adding a nice pic!

Brag - Black Display Serif


Hi everyone. Please critique my latest work in progress, Brag, a black serif display font. Lower case and a few upper case characters at the moment. No kerning and very limited spacing (I'm concentrating on drawing the glyphs first). What do you think? I'm not sure about the top part of uppercase B, D and R (not pictured) how the thin comes out of the stem. Thinking of going for a more normal look but maybe keeping that as an alternate form, but then maybe it might get too samey. I put the characters into what the font to see if there's anything really similar out there, as it feels quite familiar to me, but nothing really came up as being anything like it. Anybody know of any similar fonts that I can look at for inspiration / problem solving.

Wolverhampton Launches


Greater Albion Typefounders has just released it's latest family on Myfonts and Fontspring. Wolverhampton is a new Neo-Victorian face from Greater Albion Typefounders. It's something of an example of starting with a small idea and running with it. This family of three typefaces (Regular, Small Capitals and Capitals) was inspired by a line of lettering seen on a late 19th Century enamel advertisement made by Chromo of Wolverhampton (hence the family name). The family grew, topsy-like, from a recreation of these initial fifteen capital letterforms to the three complete typefaces offered here.

Presenting Novecento ex:Radical display


back again.

I've reworked my font Radical and done the following
• Several improvements to spacing and kerning.
• Most of the glyphs revised.
• Global reshape of inktraps.
• Font name change, from Radical Display to Novecento.
• Opentype Locl feature added for Polish: special acute accent kreska now available. To activate it, just select Polish as text language.
• Opentype SS02 feature added: stylistic alternate for /N/ glyph with all accented variants, included Polish kreska.

You're invited to download it and test it

Of course every comment is much appreciated.

Which 'U' to choose?


Hey everybody,

I've been struggling with the capitals of Sensato U lately and the U in particular refuses to look good. I've made 3 different U's, shown underneath.

- The first is a sort of lowercase approach. I've seen this done before, without sticking out as 'wrong' to me.

- The second is a compromise. The basic shape is still there, but the thin vertical stroke is thickened heavily for a better colour.

- The third is the original, based on how I would design a U in a low-contrast sans-serif. The problem with this is that it causes a really light spot when next to letters like A.

- I also included an alternative for the C, also with a more lowercase approach.

Cross-style headline Didone


This is my debut typeface (which is still untitled).
What initially meant to be modular serif inspired by arab calligraphy, turned out into somewhat modernist base with elements used by older serif typeface styles.

Some glyphs still need work - namely N, Q, X, f, x, 4, 8.
Also I haven't started to work on kerning yet.
And FL technical features are like a plane cockpit to me.

These analogues are the closest of what I managed to find:
Sahara Bodoni
Austin Fat
http://Nouvelle Vague

Sensato Capitals (Update 1)


Hello everybody,

It's been quiet around Sensato for a while, but here it is again. Capitals have always been my weakest point, so I guess there is much to improve on. I decided to step away from the caps in Sensato A (the text/low-contrast variant) with the caps, so once I'm satisfied with these I'll adjust the caps in Sensato A accordingly. All feedback is much appreciated and will be carefully considered.

Jasper de Waard

Announcing Doncaster


Greater Albion Typefounders has just launched the Doncaster family on Myfonts and Fontspring.

Doncaster is a bold display face which emphasises legibility and clarity, but which combines those qualities with a distinctive flair. The designs have a timeless quality, making them equally at home today or even in Victorian inspired design work. All of the faces are ideal for poster work, signage or for really eye-catching but not ostentatious headings and titles. Seven faces are offered combining upper and lower case forms with incised and embossed decoration as well as an italic form.

Here is a specimen sheet showing all seven faces:

Presenting RADICAL display


Hello everybody,
well… I'd like to ask for any feedbacks and/or suggestions about the first font I’m publishing.
At the basis I’m a web&graphic designer but I’d like to work in type-design too.

I’ve called my font Radical Display: it is an uppercase-only font family inspired on european typographic tendencies of the first half of 20th century.
It looks rational, geometric and blocky. However, it is based on optical proportions.
This font face is designed to be used for headlines, visual identities or short sentences.
Lighter faces provide a more contemporary and design look&feel, while the bolder ones look definitely retro.

Here below a little demo:

Announcing Paragraph Stretch


When merely "extended" just would not do, here is Paragraph Stretch™: a super extended or elongated geometric display typeface. It is a modular unicase typeface: the capitals and lower case fit the same height and width, so they are interchangeable: fancy a round "W" in all caps? Use the lower case. Want a straight "x" in lower case? Use the cap. And so on. Designed for use at larger sizes for logotypes, short titles or headings. It supports Western plus Nordic, Eastern European and Turkish languages.

Available from MyFonts.

Two New Families Released


Greater Albion have jusst released two new families through Fontspring and Myfonts:

Corsham was inspired by traditional stonemason's engraved lettering designs. Designed to be used alone, or in combination with our Corton family, ithas wonderfully lively air, with distinctive lively serifs and beautifully swashed downstrokes. Four faces are offered-regular bold and black weights as well as a condensed form. All faces include a range of Opentype features, including ligatures and old-style numerals. The Corsham faces merge 'olde-worlde' charm with fun character, yet remaining clear and legible for text use.


"Shine font" inspired by the 2005 CGI-animated film "Robots".


Hi everyone!

I recently finished this font (which I've named Shine) based on a typeface briefly seen in the 20th Century Fox/Blue Sky Studios animated movie 'Robots.' I assumed the font was only made for the two phrases seen in the film and was not rendered as a complete character set. Using a few screen shots from the movie I proceeded to draw them all by hand. Yes, on paper! Having to design about half the characters myself. Then scanned them and used my rather primitive (but still much loved) HP Image Zone program to complete them.

Note: a better resolution image of the character map can be found here:

Logo for a client - Liquid inspired


Hi all, designing a logo from a drawing I made,
I need to make the type more legible for the client,
any advice is welcome! The company name is liquid violet.
They are a young

The below was sent to the client as explanation:

'The logo here is typographic. A bespoke
typeface has been created for Liquid Violet
which draws on liquid forms taken from the
name. This logo represents a more modern
approach. Please note the typeface can be
made more legible if desired and the word
‘liquid violet’ can be placed within the

Liquid seems to be more legible than violet right now?

Thanks all.

An honest All-caps geometric Display font, my first font


So, it´s almost a year ago, when I started to discover type that I made this fist typeface. At the time I had discovered the optical tricks used in professional typography, and though I understand the importance of it, it kind of annoyed to see the skewed geometry when used in big sizes.



I'd like to share and get feedback on a set of capitals I have designed for a client work, maybe it will see the light of day as a font. I'm calling it Exotique, and it's a Modern Display Serif. It is made to be seen at big display sizes.

Cheers and thanks!

Bifur Style


I need some expert opinions on this typeface. They started off as a drawing for an assignment but I’m now using them to learn FontLab and have decided I might as well see them through to the end!

They are just preliminary for now---an exploration of how to combine lines and shapes to form an esthetically pleasing glyph.

Below are specific questions, although I do have opinions of my own but would like to hear what others think.

3 lines or 4 lines, and space or no space between lines and solids? As with L/C g, d, q, capitol K, E etc. (I think it would look best to go with 4 lines and leave no space between lines and solids…)