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I always buy type one fonts when I can. Maybe things have changed but printers prefered type 1 and maybe still do. I thought open type was a passing thing. Is it here to stay? How do printers like it? What type of font format should I buy?

Hello Typophiles,

I'm new to this site and even a bit new to typography in general. I do want to learn about it though. I'm an intern-student at a regional studio and I've really been having a frustratingly hard time designing with simple shapes and typography, while I'm quite good at illustration.

Lately, I've been banging my head about a new corporate identity that features quite a lot of text. It consists of a name (3 words) and a subtitle (2 words, describing it's services and joined by an & character). I'm not going to bother you with any details about the identity itself and have you guys indirectly designing it for me, I'd rather like to learn how to get there.

Could anyone share any useful tips or resources with me when designing a logo/typographic logo with a long names? Are there elements there should be payed specific attention to?

Finally I would like to know if there are any articles out there about choosing typography in general, since I often seem to choose wrong or unfitting typography. Actually, anything on the web a student should read about typography and logo design would be helpful.


I've rewritten the title for this thread countless times now and can't sum it up accurately. So I gave up…

I'm looking for links to research, articles or forum discussions on the importance of typeface choice and typography in corporate identity design and branding, in particular focusing on the client or end consumer's perception of it.

e.g. How a client or end consumer perceives a logotype set in Arial Bold at 75% width, paired with a tagline set in very loosely-tracked Mistral, as opposed to how a (talented or successful) designer who would be able to tell you without hesitation that it's a Quasimodo-esque monstrosity. I'm also hoping to find out how the client/consumer tells the difference (if at all) between a block of text set poorly in Arial from, say, one expertly crafted using Whitney. I hope that makes sense, I'm not so sure now as it's late and I'm tired.

Any help/links/info appreciated. Thanks!


This is first digital sketch for my NEW display typeface - Revolt Display. Any comment please.

Thank you.

I'm in the initial process of developing a logo for a friend's business, My PC Handyman. I'm looking for some concepts to work up. It's a little bit of a clunky name, but I think there's potential as well. I have considered using a toolbox theme, a more digital theme, as well as his idea of a figure carrying a computer.

My concern is the name and if I add a graphic that it might be distracting to the name. I'm also conerned about the 'PC' part. I don't want it to get lost and hopefully PC is interpretted properly.

Any thoughts?


I am in need of a good way to start examining the formal characteristics of the font Gill Sans but need some resources to help get me going. Any ideas would be helpful!

So as much as we all love identifying type I was hoping someone would be able to help me out and tell me about the paper stock used here:

Really any information would help. Who makes it or something like it....even if you just know what that kind of paper is called so I can figure out what to search for.


I'm setting an extended text in Dolly. I like it, but I don't think it works well for headings, so I'm trying to find a suitable face for the headings.

What I've been trying so far has been Fontin, which shares some of the calligraphic characteristics of Dolly that make it distinctive. However, one opinion I've gotten is that it doesn't provide enough contrast, being too similar without being the same. Because Dolly is a face with strong character, it may be worth having a strongly contrasting style.

I'm tending towards using a sans serif for the headings. Since there are going to be multiple consecutive lines of headings, it's important not too have anything excessively blatant.

| Attachment | Size | | --- | --- | | example.png | 16.49 KB | | example2.png | 20.76 KB | | example3.png | 24.81 KB |

can anyone help me?

i am currently trying to research the field of dyslexia and the
typefaces available for dyslexic people. i was wondering if anyone
would know where i would be able to obtain any information on what
would be required to make the face more legible for a dyslexic
person... what the lengths of the ascenders and descenders should be,
for example, and how symetry effects the way the typrface is read.

many thanks,

leigh middleton.


I would like to buy the Rialto font (dfType) from Giovanni de Faccio and Lui Karner. Does anybody know where i can buy it? I can't find any sites in the web selling this font...

sorry for my english



Hey all,

I was curious to know if anyone had ever seen the construction of Futura sketched out or layed out the way he had constructed it. Any help would be much appreciated :)



I'm writing a small essay about the age of enlightenment and would like to know which fonts that are used on this page:

Note that "sapere aude!" (ninth line) is written in a different font than the rest.

Help is much appreciated!

Best regards,

I'm looking for a good text face for the ID system of an orthodontic software company.

Interstate is used in the logo and elsewhere. I suppose the serif face needs to be modern and have a high x-height, but beyond that, I could use suggestions. Thanks!


Hi all.

My gut feeling is that this is going to be a hard question to answer. Here goes: Is there a rule of thumb about the cost difference between letterpress and offset printing. Obviously in many ways this is like comparing apples and orangutans.

Understanding of course, to get a solid answer, just request a quote. I'm in the dreaming phase and don't want to bother if the cost will be prohibitive. I'm out of New York City, the job is a promo piece called A little Book of Logos. 24 pages, 4x6 inches final size. It will be a mix or art/type so I think we're talking polymer plates rather than hand setting type. Oh, one color. Anyone hazard a guess? +20% +50% +100%?


I would like to mimic the custom font of the Orlando Magic logo, does anyone think they are capable of assisting me with that?

Hi - I'm a freelance web designer/developer, with a fairly modest knowledge of typography.

I was just wondering if you have any ideas of a typeface that would work well with URW Antiqua (specifically Alternative T Super)?

Luckily I think Georgia works well with it in various forms, esp. for body text (I could be wrong?), but I'm looking for something a little less common, and with similar character to Antiqua, to use for the headings and other more prominent areas of text on a new website.

You can see the logo with Georgia here:

Thanks! I appreciate your help/expertise!

Hi there, I'm currently looking for a geometric sans serif with a design similar to Kabel Light, but, if possible, with some alternate glyphs to give it more personality. I'm inspired by a typeface designed by Ian Party, named Sang Bleu 5, which unfortunately is not for sale:

I'm also fascinated by the design of a late 60's British team, Bentley/Farrell/Burnett, and the use they made of (apparently) hand-made variations on the Avant Garde / Kabel lineage:

Any suggestions?


Well, this is probably a easy one:

When working in FreeFont mode, how can I assign automatically a lower-case acute mark to a lower-case glyph and a upper-case mark to a upper-case glyph?

Fontlab insists on giving lower-case marks to all characters.

Thank you in advance.

This may already have been answered somewhere in one of the fora, but the search function isn't on my side right now.

does anyone know which sans serif typefaces have both lining and non-lining numerals?

thanks in advance!

I have created a tool for you to create fonts directly from iPad. It has been over two years in the making. Please let me know how I can improve it. Enjoy! MDH

Apple App store--//urFonts

This question might rub a few of you wrong, but if you have an answer please share.

I'm trying to add a drop shadow to an object in InDesign CS3. (Object>Effects>Drop Shadow), I know this much. The object is a vector graphic imported from Illustrator. I'm curious if I can change the resolution of the drop shadow, much like you can in Illustrator (hence the Document Raster Effect Setting reference in the title). Currently when viewing the design at high quality, the drop shadow looks very bitmapped. I'd like to change the resolution if I can, but I don't know where to start.

Any help will be appreciated. However, please refrain from sharing your opinions for or against the use of drop shadows, they will not be appreciated.

I'm looking for semi-serif's. can anyone recommend some?

Thank you

I'm looking for a bold (or so) weighted sans serif that has a punch--the word to be typeset is "REVOLUTION."

But it should have a small caps to go with it.

In particular the leg of the R need to be straight, not curved.

Does anyone know any fonts that might fit this bill?

Thanks in advance

Hi All-

I am venturing into new territory and was hoping someone might have some pointers. I am working on a Russian typeface and along with my dim understanding of encodings, I am also at a loss to find relevant information regarding kern pairs. Any relevant caches of information out there that folks can point me to? Ideally, I'd like to find a list of common kern pairs.

Thanks a bunch!

Paul Platosh

Does anyone know an ornament typeface that has characters for the words "of" and "the"? I'm looking for an 1800s feel. Any suggestions would be greatly appreciated. Thanks!