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as well as rare concert programmes

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One thing we rarely enjoy, when typesetting in french, is the opportunity to have rounded guillemets.

No one is to blame of course!
This form has always been rare and can mostly only be found in fonts by Imprimerie Nationale (as the exemple here provided shows).

Whats the advantage? Some typefaces have pointed guillemets which are - to my taste - too visible. Rounded ones would be softer to the eye and blend in better in text - much like the quotes (“such”).

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Hi all

Am doing an assignment for uni. and am trying to find out what the type is used to teach children to write. I just know it as cursive, but is that an actual font or what? And if so, where does it come from...If any one knows some info. or could point me in the right direction, it'd be much appreaciated!


Hi all,

I'm designing a print publication for a large Indian conglomerate which is involved in heavy manufacturing, service industries and FMCG's. The title is to introduce their brand(s) to the European market, and will be akin to Monocle in it's ideology and breadth.

I had in mind a font superfamily to bring harmony to the various strands of content and wanted something classic but fresh and contemporary and also future-proof.

I have been looking at Freight, but the cost is prohibitive especially as I can't test the font in the design and present to the client.
Can anyone suggest a similar hard-working family or any other thoughts/recommendations?


I'm wondering if there's a simple method for plotting equations into a drawing program (doesn't matter which), and then producing glyphs from that. For instance, I like the " egg curve," but I can't see an easy way to move from the equations to the glyphs. I don't exactly want to learn Postscript.

Hello all,
I'm a university student studying graphic design. A couple years ago I got the typography bug and now it's probably a full blown obsession. As a directed study for school, I've selected to create my own typeface. My plan is to create roman lower and upper and italics by the end of the semester. One of the problems has been finding a process getting good feedback because of the lack of people experienced people around me. So I've come here to hopefully learn and get good critique.

My current plan is to do all the letters on paper with pencil, then ink, which will be scanned in to take to a yet undecided program and fixed. Is there a standard program that would allow me to do kerning tables and such? I've looked into FontLab and Font Forge, but haven't used anything yet.

Secondly, I would like to ask for some feedback on my preliminary letters. I've attached a couple images of my first forms. The plan is to create a contemporary serif, with a little humanist feel. I've been experimenting also with a very high x-height and some features that would be interesting at display size but disappear as body text. Please don't hold back!

i'm doing a project focused on the use of typography by the Push Pin Studio since 1954 into the 1960's. Particularly how it stood out at the time and how the culture and historical context influenced it. Any suggestions or good resources i could use?

It has been a long time since the last specimen book I created. I enjoy the work, but is it justified? That is always the question.

FHA Condensed French Specimen Book


I was looking through some Computer Arts tutorials and came across Mark Bloom's modular grid system in illustrator.

I thought it was refreshing to see Computer Arts highlight how a designer works with a grid system in their day-to-day design projects.

I was wondering what people thought to the process Mark uses? I am interested to hear everyones thoughts about creating Modular grid systems, perhaps you feel you have a better solution? or perhaps you work for a design studio that likes you use grids a certain way?

Appreciate anyones thoughts?


Hi all

I am working on a pitch for a trade magazine for optometrists. Clearly legibility and readability are paramount, but as a membership magazine we want to attract and engage readers, so character and aesthetic is just as important. I think a sans, given competitive media is going to be the main body and headline face, but I would like a serif or perhaps a slab serif to complement and add texture.

I'm literally just starting so would welcome any ideas as to any families which have both slab and supporting sans which might work for this type of title?

It doesn't need to be cutting edge but contemporary and versatile - also not too expensive (i.e. no H&F fonts!)


Hello, my name is Sam Bartle from Distraction design agency. I am currently researching the use of typography associated with aircraft during WW2 and specifically the Lancaster Bomber, for use as part of the International Bomber Command Centre.

If there is anyone that can help advise me on how typography was used across different planes, how it was applied between factories etc. would be very much appreciated.

I am looking at the end of this process to produce or find an appropriate stencil font that can be used to cut out of metal panels the over 20,000 names of those that lost their lives flying from Lincolnshire during the war. It will be displayed at approximately 80pt.

Sam Bartle

Hi there!
I really hope this is the right forum to post the question in. I have a font called Skitch from Yellow Design. I have installed all 11 variations but only some of the are available in Photoshop. For example the Skitch fill version doesn't show. I am quite new at using an opentype font like that. I tried to look in the character sub menu in Photoshop but that didn't help. They show so many nice options on their site but I can't access them. F.ex how do you stretch the borders like that when they consist of two characters?
Here are some links

Nice to meet you all. I'm a growing typo-addicts and wish to acquire some knowledge based on this typeface. I wish this question wasn't brought onto the forum before and hopefully it isn't a sensitive subject, as the topic is a fairly censored conspiracy.

I was browsing fonts for a better knowledge of san-serifs and I laid my eyes on this typeface.

It is really interesting of how Robert Slimbach created this typeface with such a calligraphic influence. I believed it is one of favorites for typefaces I may use in the future.

Upon further research of Slimbach, I found out that he was obsessed with revivals and calligraphic nature of the older typefaces such as Garamond. However, a lot of books and information online did not mention how he concludes his design on cronos.

Then I ran into an invisible filter that covers all the backgrounds of this typeface. I did not found out much but supposedly it was a copy of the typeface, Today San Serif, by Scangraphic. Yet Adobe declared Cronos was an original face developed by Slimbach himself.

I wish to find out more information about this typeface and its relationship with the "original" and the "Slimbach's version". I hope the fellow typographers can direct me to some books or other sources to find out more information.

Thanks you for your time!

Any insights on distinguishing these three types of characters? My particular case is for a sans-serif, but any thoughts (or links) appreciated.

I am updating an identity for my branding, design firm and I have recommended a switch in our corporate typeface. I am looking for a few suggestions which fit our criteria:

  • capture the openness and friendliness of our current face (Century Gothic)
  • with a more credible font that sets well and is part of a larger system (similar to Helvetica Neue, which some designers would like to see used)
  • this larger system should include different weights, a nice italic, an expanded character set and solid numerals (distinct or non-lining figures would be a nice plus)
  • we are also probably setting our name as a word-mark or initialed in this face, so it must have enough personality (or brand) to sit on its own

Some designs that came to mind were: Verlag, Scala (both families), Dax, Neo Sans, Gotham, Whitney, or even Apex Sans and Galaxie Polaris.

I know I've seen excellent suggestions on these boards. What do you guys think?

Thanks in advance for any help,


Hi, longtime lurker here, best type site in the world!

I did a search but had no luck, even searched google using the site: command, topics came up, but when clicked on, did not go where it should, so I am posting here. I am a web designer and with some down time, I have been focusing more on type. Do you have any favorite css typography sites that you visit and can recommend?

I found a these and enjoy them.


Hi guys (and girls).

I'm currently working on the interior graphics of a museum in Belgium that opens September 27. On a window I've set an "In Memoriam" in Plantin MT Pro, which is the font that is used troughout the entire museum.

Now, this "in memoriam" will be placed in lettering. My printer says that the serifs are to small and the letters might peel off. Can you recommend me a certain font style of Plantin with thicker serifs or a alternative sans serif that fits well with the look of Plantin? I'd rather not use an extra font, but if it's the only way... :)

Thanks in advance!

Jeroen Migneaux

I'm creating the logo for a small interior design firm. The owner preferred initial mockups in Clearface Gothic and Officina Sans over more elegant (Bodoni, Didot, Optima, Centaur, Caslon Openface etc.) and contemporary (Gill Sans, Futura, Avenir, Helvetica, Mostra) ones.

Here are my questions:

  1. Do you think a font like Clearface or Officina suits such a business's identity?

  2. What are some similar fonts I can consider?

Any help would be greatly appreciated.


Food is great. Fonts are great. Together they could be really really tasty. Craft the name of any food out of the food itself.

Winner take all, no holds barred. May the best designer win.


  • Image size: 550 width x 400 height. 72 dpi*
  • Color: Black and White or color
  • Format: JPG or PNG (make sure there are no spaces in the name)

*Please try to keep your file sizes to a minimum! 50k per file max.


This is your chance to stretch your type muscles on a weekly basis. You have one week to create and submit your entry. Anyone may submit a design response to the challenge. You may enter as often as you wish. Post anytime. Critiques and comments are welcome throughout the game, from participants and spectators alike. Smack talk is encouraged.

As with any street battle, there is no panel of judges and no prize — only the ability to call yourself the best on the block.

Link directly to this battle:
Link to the battle directory:

Hi, I'm 17 and I just came into some money that I'd like to use (partially) to buy a new font for my Mac. I've only bought a couple of fonts before but I download a lot from free websites. I am kind of a font maniac, as most of you probably are, I can identify almost any font from sight and have trouble reading books in fonts I dislike.

Anyway, some of my favorite fonts are: Adobe Garamond, Granjon, and Caslon. I like really classic fonts with nice rounded question marks and apostrophes, and if something's too off or weird about a font I have trouble writing long things in it (I'm a novelist). For instance, I have Deepdene on my computer and I thought I would love it, but it's just too quirky for me.

I'd love some suggestions about what I could buy that's similar to the fonts I like, but a little bit different. I was thinking Sabon, but I'm not sure. Any thoughts? Please, give me some of your fontaholic expertise!

  • Molly

Hello, I´m looking for a companion to the tech sans Chevin, to be used in headlines. Any ideas? They should differ a lot but still go nicely together..

Does anyone know of a company/example of Gotham as a wordmak?


I am designing and animating the speech Robert Kennedy gave in Indianapolis the night Martin Luther King was assassinated. The speech is somewhat impromptu and very moving.

You can read it and hear it at:

I would like to hear some opinions on what typeface comes to mind when you hear this speech. I'm looking for a somewhat sad serif that captures this mood. I'd be interested in hearing what everybody has to say. Thanks!


You have put it well.

Do you mind if I insert (AND UNITIZING) and see if it meets with your approval. I am using uppercase to show it is not your words but mine. I am "not" rewriting your sentence, I am just asking if you agree with my insertion?


"But Tschichold had to adapt to both constraints -- duplexing (AND UNITIZING) for Lino, unitizing for Mono. So he made the choice to make the two 'a's fit the 9 units (which yields a noticeably wide roman 'a') instead of cramping the italic in the 8-unit slot."


Unless systems in Europe were not equal to America? I refer you to Mike Parker