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Trying to identify these two fonts from Daniel Calderwoods beautiful Magic Ladders project.

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Hullo hullo,

Here is an attempt I made at a typeface, inspired by the Niemeyer buildings in Brasilia. It takes modernism | bauhaus in a new direction.
I know some things are not right yet, I somehow think I know which but I certainly don't know how to fix that. Help! Please! The following link is to a large image

I am trying to figure out what typeface Visa Black Card uses. Some typefaces like Gotham and Johnston come to mind but they don't fit. I wouldn't be surprised if it was custom but have no reason to assume it is.

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The Call is out for presenters for SoTA's Type and Design Education Forum, part of the pre-conference offerings at TypeCon2008 in Buffalo. This year's forum will be held on Thursday, July 17. Last year's Ed. Forum was very well-received, and we expect this year's to be even better.

If any Typophilers here are involved in type education, consider sharing your experience with your colleagues. All the details and requirements for submitting proposals can be found at The deadline for submissions is February 15, 2008.

SoTA is also still accepting proposals for presentations to the main conference. The stated deadline is January 15, which is right around the corner. But rumor has it that this might be extended, so if you've been thinking about submitting an idea, don't let the deadline stop you. By the same token, don't put it off either -- Quick, get your idea together and get it in to the committee.

Details for these submissions can also be found at Just be sure to scroll down to the entry about general program submissions.

-- K.

what is the best way to expand kerning from class-based kerning to keep the # of kern pairs down to the absolute essentials for PostScript fonts?
There are several planks nailed together fonts plus Logger

Hi....need some help....I need to match the type face that Dentyne uses for their packaging.

There’s a jpeg attached. It’s not the “ice” part I’m looking for, but the “Dentyne” part.

Thanks a lot.

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‹ (x) meat on the menu - Cheltenham {Stephen, Mark S} (x) Luma brush script - Kid TYPEPaint {Mike Y} ›

The image has been scaled down sample to fit this page.

Adobe and The New York Times recently announced the Times Reader. The Adobe AIR desktop application is well designed and stays true to the New York Times brand, largely owing to the reinforcing quality of the Time's custom typeface.

This is web content. It's web content that is neatly poured into a desktop application. Why is this news? It shouldn't be, except that somewhere back in pre-history when the browser was being forged in the fires of mount Doom it made sense to render content with fonts installed on the client device, not native to the server where the files were hosted. (Sure, it also makes practical sense where 14.4 modems are concerned, even if it seems like an evil plot to control the races of middle earth.)

That was then. But why are we still stuck with a lack of web type options? We hear about technologies but aren't sure about implementing them. Font makers licensing agreements are only part of this equation but it's time for them to recognize their culpability -- even if it's not solely their problem. It's also time for digital designers to embrace font embedding technologies and show that they're willing to buy licenses for embedding quality fonts. Every major brand understands the connection between type and brand identity. It's time to embrace technologies that will let fonts have a rich and pervasive digital presence. It's time to sell type to designers and brands, and not to every single reader, viewer, and consumer.

Can you imagine if ESPN had to display sports tickers in the fonts natively installed on your television? Absurd. But that's what may happen when you start seeing Facebook and YouTube television widgets. (It's true, you can buy these TVs today from Panasonic or Samsung.) One of the promises of Adobe's Open Screen Project allows designers and brands to embed type into applications and widgets across devices: desktop, mobile, and TV. The foundries who already allow Flash embedding (which is increasingly permitted by many foundries) will win here.

Typography is a means for brands like the New York Times to hold onto an identity that is tied to a rich history in printed media, a media that is becoming harder for them to justify. And yet, as they move increasingly to digital channels they have to find ways beyond the browser to reinforce their brand identity. Isn't this obvious? It was back in 1996 when I started my career making web pages and cutting up hundreds, thousands of little GIFs. But somehow under the numbing weight of Sauron's browser we all grew apathetic. "Fonts are for print guys" or "I need a font when I design a logo." If you are lucky you get a client who will let you use sIFR because the days of all-Flash sites are dwindling. We saw the power of designing for machine-readability which good search engine optimization demands and gave up on GIFs (and at some point our souls).

The broader context and opportunity for designers, is creating digital experiences beyond the browser. Thinking beyond the browser extends to the desktop PC to handheld mobile devices, televisions, in-car experiences, etc. One of the gaps here is type.

The AIR app side-steps the browser discussion, but it underpins a much bigger discussion that is yet to happen on a broad scale in the design community. Designing for internet content that lives outside the browser will become a major discussion among web and branding firms in 2010. It's already a major discussion happening among consumer device UI companies like Punchcut and in foundries focused on device type like Ascender and Monotype. Questions about brand identity and user experience consistency naturally surface when content and functionality get poured onto TVs, desktops and handheld devices.

I have to finish with a more personal note. Many of my friends and digital acquaintances are type designers. Many of them are graphic designers who pursue this passion on the side. Fewer of them make a real living solely from font sales and I have sympathy for their business when I write this. It's simply the basic economics of demand. A web that is friendly to font embedding, and designers that embrace font embedding, will create demand for embedded type that will help type designers flourish.


For more about the Times Reader check out the video interview with Adobe's Jeremy Clark, " Ahead of the Times" on Adobe's Inspire publication discussing the user experience design thinking behind the app. Also on Inspire is " Reading the Paper with Khoi Vinh". Mr. Vinh is the New York Times' Design Director and the blogger behind one of my favorite design blogs Subtraction.

What font is the 51 & 3.1? Thanks, Sam

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There seems to be more on all forums. Typophile is choking on Spam.

Principles of form and design by Wucius Wong 1993

Is it so difficult to actually indicate which section/chapter we are in?
Some of the text refers to other chapters. If I want to go to that chapter I have to go to the contents page, find the chapter, but hold on, it is split into sections and chapters.
I have to check the section and then the chapter. Get the page number then go there.
Some of the illustrations are not labelled consistently. Fig. 58a could be on the next page, the figure numbers are sometimes right next to the gutter, bend the pages to clearly see what they are. I still can't believe that Josef Muller-Brockmann used the inner gutter margin to put his page numbers.

Are there anymore design/navigation annoyances?

!Carlos Caffeinated (TT) has the usual 4 styles: regular, bold, italic, and bold-italic. Everything is cool in every program, except the CS2 applications. There, there is only regular and bold-italic. Inspecting the file's properties and tables I cant find a problem. A free font, this a low-priority problem to solve sometime when I redraw the font (already planned).


My newest font, intended to be my first commercial release, has three cuts with the same basic4 in each. However, Cut #1 has all 4 in all applications, including CS2. Cut #2 and #3 have: Regular, bold and bold-italic. No "Italic" (In CS). But, the "Regular" is italicized. How can this be?

In Word's font menu, Windows's font preview, and several small font viewing applications, as well as all other font developing tools, everything is kosher.I am developing all the cuts side-by-side. I've poured over this for days, recompiled, completely re-entered the name fields, stopped all other development, re-rendered the italics from the original design, scoured the web for a clue, revised the OT naming system, and now I'm all out of ideas. Please help.

I've been a lurker on here for a while, always ending up reading through all of the posts on the first page before I actually get through to post something (and honestly a little intimidated). So I guess that means I am new, or somewhat new....anyhow, I have a question and I couldn't find anything through the search.

Anyone using an iPhone app to follow this forum? I am only at a desk for very small amounts of time during the day and would love to keep up with the forum without having to go through Safari and enlarging it every time.

I know that there are a few apps that support a few types of forums, but the ones that I have tried don't work here (Forums, Tapatalk, TouchBB).

If there isn't an app that is already in use, would it be possible to install the support apps from one of the mentioned apps on to the server? This would allow Forum reading apps to interface with the site, and I am guessing that would make quite a few people happy, least one.

I asked Tiffany this question earlier, so if this has come up recently and I haven't seen it, sorry.



Hey folks,

If you'd want to make any sort of educational material about type design, are you allowed to use a font (with a license) in it, and show values from the font, such as the spacing and kerning values? For example, you could set a word, draw lines to show the sidebearings, and write the spacing values from within the font underneath it, to show the distance from the glyph to its sidebearing. Might be a silly question, but I'm considering making a poster, so it seems wise to be sure :)

Jasper de Waard

I came across this font on the poster in the 1980s miniseries V. Can anyone help identify it. It was likely predigital and so probably has some pedigree. Any advice, as always, appreciated.

More from Frege’s Grundgestze der Arithmetik II (Jenna, Germany, 1903).
The attached are details of an inverted c and e sporting odd hook-like
diacritics. The final attachment has the e in context — raised slightly
from the baseline and a little smaller than its arguments.

Any thoughts on these hooks?

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‹ (x) "Annie" soft serif musical logo - similar to Goudy Heavyface {Lex} (x) Seemingly a mix of Trebuchet and Boulder - Myriad {Jan Erdmann} ›


Maison Mono Bold

Solved By: 


Is it possible to specify in OpenType features a change in line height for specific languages?

This is especially useful for languages that have stacked diacritics like Vietnamese where those accents might frequently interfere with the line above, but might also help optically with languages that use frequent capitals like German, or that are entirely of majiscule form, like Cherokee.

I've finally learned how to change the default line height so my font won't show up as if it's always set for Vietnamese, but should I rely on the end user to adjust the leading themselves or would it be prudent to provide it as a feature in the font?

I am setting a paragraph in Minion with an 8-line drop cap that happens to be an A. There is a lot of space between the right slant of the A and the left margin of the copy. Should I wrap the text so that the text margin follows the slant of the A? Same question for W. This is a relatively formal/traditional piece. Does anyone have an opinion?


‹ Fighting typeface?? words for ligatures... ›

Hi friends im looking for Very good samples of Stencils Fonts, if somebody can tell me the names of fonts.Actually im doing a screenprinting job.

Thank you

Miguel Hernando

‹ smirnoff (x) hand printed script - Litterbox {Ryan} ›

I have been seeing MacSans/Bodega being used on everything! From the Oscars to food packaging to Wal-mart. Does anyone have any insight to it's over-use (or abuse) as of late?!? I literally cannot go a day without seing it on packages from the snack machine or used in tv ads. Please let me know if I am the only one who sees this or has some thoughts about why it has spread everywhere like a virus?

Hi all,

I’m currently for my final school project doing a visuel identity for a school called “The Academy of Professional Higher Education”. I’m on the lookout for a fresh, exciting sans sherif with a lot of character. I will be used both in the logotype and troughout the rest of the identity.

Does anyones of you type-specialists have an suggestion? :)


‹ Font that is similar to Seravek Pictogram for Gratis ›

i think they're pooling from logo pond, but...

Same as topic thank you very much in advance

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I'm a life long typefan and newly aspiring "font maker" and I was wondering if there were any good sources for online scans of "classic" font faces like Garamond or Caslon. I'm looking to teach myself at least the "mechanics" of font making by creating some nice digitizations of the old classics for release under an Open Source license (probably the LGPL but I haven't decided yet and probably won't until I have an actual preliminary release that someone might want to use and/or help build)

Ideally the samples should contain a complete set of numbers, letters and punctuation, but seeing as that's not the way they seem to have done things "back in the day", I'd be happy with links to almost anything.